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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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Mamdani Nakba Day video prompts pushback from Jewish leaders amid rising tensions
New York City Mayor Zohran Mamdani once again angered many Jewish New Yorkers, already uneasy about his criticism of Israel, after posting a video on Friday made by his City Hall team marking Nakba Day, which remembers the displacement of thousands of Palestinians during the creation of Israel in 1948. “Nakba” means “catastrophe” in Arabic.
Mamdani, who rose to power aligned with pro-Palestinian activism, has been unapologetic about his anti-Zionist views and signaled they would shape his tenure. The Jewish community overwhelmingly did not support his election. Mamdani has supported efforts to divest from Israel Bonds and has refused to recognize Israel as a Jewish state — all this reversing years of steadfast support of Israel by mayors of New York City, which has about 1 million Jewish residents. While people who identify as Palestinians number just a few thousand in official records, about 150,000 New Yorkers told the last Census that they hailed from the Mideast, excluding Israel.
The post drew fierce backlash from Jewish leaders, who accused Mamdani of promoting a one-sided view of the Israeli-Palestinian conflict while ignoring Israel’s history and alienating the many New Yorkers who have connections to Israel.
The four-minute video featured New Yorker Inea Bushnaq, who recounted her experience as her family fled their home in East Jerusalem because “the Zionists were coming into Jerusalem,” and moved to Nablus. It had 10 million views on the social media platform X by Sunday evening, one of multiple platforms where it was posted on the official NYC Mayor’s Office accounts.
Today marks Nakba Day, an annual day of remembrance to commemorate the expulsion of more than 700,000 Palestinians between 1947 and 1949 during the creation of the State of Israel and the year that followed.
Inea is a New Yorker and a Nakba survivor. She shared her story with us… pic.twitter.com/z2PBOaJq5Z
— Mayor Zohran Kwame Mamdani (@NYCMayor) May 15, 2026
Olivia Becker, Mamdani’s video director, who filmed the interview, reposted supportive messages on X from allies of the mayor, highlighting the significance of his becoming the first New York City mayor to publicly commemorate Nakba Day.
Many Israelis argue that the displacement of Palestinians occurred in the context of the war launched by neighboring Arab states and Palestinian groups against the newly declared State of Israel, while some progressive Jewish groups and pro-Palestinian advocates say the Palestinian experience and the continued statelessness of millions of Palestinians should also be publicly acknowledged. Jewish leaders also noted that Mamdani’s video ignored the massacre of Jews pre-state and the displacement of hundreds of thousands of Jews from Middle Eastern countries. Many New Yorkers and Israelis are themselves descendants of Jews who were expelled or forced to flee Arab countries such as Egypt, Syria and Yemen.
Yaacov Behrman, a Chabad-Lubavitch activist in Brooklyn — who has appeared with Mamdani and attended a roundtable discussion with Orthodox leaders at City Hall — harshly criticized the mayor for platforming a “dishonest characterization” of history. “The tweet’s one sided narrative deepens division instead of advancing peace, coexistence, and understanding, and it should never have been posted by the mayor of New York City,” Behrman said.
Tony Award-winning actor Ari’el Stachel, whose father immigrated to Israel from Yemen, mocked Mamdani’s muddled response to rising antisemitism in an Instagram satire in which he struggles to say “I am outraged by antisemitism” — but eagerly looks forward to releasing the Nakba Day video.
A City Hall spokesperson did not respond to an inquiry asking what civic purpose was served by using city resources and the mayor’s official account to post the video.
The video prompted the latest clash between Mamdani and major Jewish and Zionist organizations over Israel-related issues. Last month, Mamdani vetoed a City Council bill requiring safety plans for protests near schools, while allowing a separate measure protecting houses of worship to become law without his signature. In January, Jewish leaders criticized his delayed response to a protest in which demonstrators chanted pro-Hamas slogans. Mamdani also faced backlash from Zionist Jewish organizations on his first day in office after revoking executive orders tied to antisemitism and campus protests.
Mamdani came under fire during the mayoral race last year for defending the slogan “globalize the intifada,” used by some at the pro-Palestinian protests and perceived by many as a call for violence against Jews.
Mamdani’s Jewish Heritage reception
Mamdani is set to host Jewish leaders and activists at Gracie Mansion, the mayor’s official residence, on Monday to mark Jewish American Heritage Month. The annual event has been programmed by Mamdani’s team as a celebration in honor of the Shavuot holiday, with a dairy menu.
Former Assemblyman Dov Hikind had urged Jewish leaders to boycott the event before Friday’s video was released. “You don’t have to go for cheese blintzes to Gracie Mansion,” Hikind said in an interview Sunday, arguing that attendance would legitimize Mamdani’s anti-Zionist posture. “I have no doubt that Mamdani is laughing all the way to the bank,” said Hikind, who now runs Americans Against Antisemitism. “I can tell these Jews that he would have greater respect for you if you started to believe in something.”
Hikind said he had been told that photographers from the New York Post planned to stage outside the mayoral residence on the East River to photograph attendees entering the event and that activists intend to circulate the images on social media to publicly shame participants.
For observers, the repeated episodes underscore the widening divide between a mayor who sees outspoken advocacy for Palestinians as part of his political identity and the largest Jewish community outside Israel, which increasingly views his approach to Israel and antisemitism as dismissive of its concerns despite his repeated promises to protect and engage with Jewish New Yorkers.
The post Mamdani Nakba Day video prompts pushback from Jewish leaders amid rising tensions appeared first on The Forward.
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Molly Crabapple’s book is well researched but ideologically biased
Molly Crabapple’s Here Where We Live Is Our Country is a captivating read. Drawing on the biographies of both major and lesser-known activists, Crabapple tells the history of almost 130 years of the Jewish Labor Bund. Her crackling, imaginative prose brings dry, documentary materials to life, and makes long-ago personalities feel contemporary.
Crabapple chooses Sam Rothbord , her great-grandfather, as a guide to the vanished world of Jewish Eastern Europe. Though Crabapple was born many years after his death, her family saved his photos and papers. Crabapple turns to these items to reconstruct a detailed picture of his life.
Born in the town of Volkovysk (now in Belarus), Sam joined the Bund as a young man. He soon immigrated to America, where he became an artist. His first exhibit was held at the former headquarters of the Forward on East Broadway.
Many well-known Bundists make an appearance in the book: Vladimir Medem, Arkady Kremer, Raphael Abramovitch, Mark Lieber, Sophie Dubnova-Erlich , Henryk Erlich, Viktor Alter and others.
Crabapple takes her readers through the cataclysmic events in which the Bund took part: the Russian revolutions of 1905 and 1917, World War I, the establishment of the Polish republic and, finally, the Holocaust. Despite her great reverence for the Bundists’ heroism and sacrifice, Crabapple acknowledges that these heroic figures could also have difficult personalities. She often compares her own experiences as an activist on the left with the struggle of radicals around the world today.
The Bundists left behind a rich legacy of memoirs and documents. Crabapple synthesizes these sources into a lively narrative full of color and emotion.
Crabapple makes liberal use of graphic cliches, and she doesn’t hold back when it comes to representing the ‘bad guys.’ Describing the 1905 pogrom in Odessa, she writes: “Blood-smearedRussian mothers loaded their pushcarts with the spoils from looted Jewish houses, then had their kids torch their homes behind them as they left.” ”
Crabapple is well-versed in Marxist theory, having learned it from her father who, she writes, is a professor of political economy. She clearly explains the ideological differences between the Bund and other leftist parties. Unfortunately, her relationship to historical facts is occasionally a bit loose.
Czar Nicholas I, for example, did not limit the number of Jewish students in Russian universities; at the time there were simply nearly no Russian Jews who would have liked to study there. The so-called “percent norm” (quota) was first introduced by his grandson, Alexander III in 1887, over 30 years after Nicholas’ passing in 1855.
Crabapple also writes that “Tsar Nicholas I wrote his policies with the declared aim of forcing a third of Jews to die, a third to emigrate, and a third to convert to Christianity.” But Nicholas I never declared this; in fact, he strictly prohibited emigration from Russia. Many popular books on Russian Jewish history attribute this statement to Alexander III’s official, Konstantin Pobedonostsev, although no documentary source exists for this.
On the whole, Crabapple paints a historical landscape of the time in black and white. The good guys are the Bundists. The bad ones are various governments, the Bolsheviks and, of course, the Zionists. At fault for all the world’s ills is the West, with its capitalist, imperialist regimes.
The book is prominently anti-Zionist in its politics. This ideological direction must have been a motivating factor for Crabapple as she undertook this project — and she’s successfully conveyed it to her readers, reviving the old fighting spirit of Bundist polemics.
For all this, Crabapple isn’t blind to the political weakness of the Bund. “The Bund had accomplished many things in the areas of mutual aid, cultural production, and armed self-defense. But there was one thing that the Bund had neglected: the necessity of taking power.” A question lingers, however: did the Bund ever have that option, besides a handful of times in 1905, in Russian or Polish cities?
Here Where We Live Is Our Country offers a major intellectual resource for today’s generation of radical activists protesting Zionism and the State of Israel. There’s ample historical and theoretical ammo here for their arguments. At the same time, Crabapple’s book shows that far from every critic of Zionism is an anti-Semite (although many of them are).
Historically, it was Zionism that won out over the Bund, and the State of Israel is an undeniable fact. Indeed, Israel became a new home for many Bundists who survived the Holocaust. For Crabapple, however, that was their bad luck: “The lucky ones got visas for refugee communities in Melbourne and Johannesburg, Paris and Montevideo. Others were not so lucky. In the years after the Holocaust, hundreds of Bundist survivors left for Palestine.” Their party, she adds, meaning the Bund, “had given them fairy tales. Zionists offered a place where they could rebuild their lives.”
There’s a sense of mixed feelings here: disdain for the Zionists, coupled with the acknowledgement that the Bundist project had come to nothing and Zionism did a better job for the Jews. In keeping with Crabapple’s anti-Zionist attitude, she makes no mention of the Bund’s vibrant afterlife in Israel, which included figures such as Isaac Luden and Mordechai Tsanin, and the Israeli magazine Lebns-Fragen, which was highly critical of the Israeli government.
But perhaps the book’s greatest weakness is its deeply caricatured portrayal of Zionism. Not a single word is said about the major role of the Zionist program in Europe and America to support Jewish life in the diaspora. Compared to the Bundists, the Zionist activists were often less dogmatic in their perspective on Jewish culture.
Crabapple clearly demonstrates the ideological divide between the Bund and Zionism. However, she doesn’t seem to acknowledge what these two movements shared: a commitment to the future of the Jewish people. Both emerged from the political environment of late 19th-century Eastern and Central Europe, where various ethnic communities were seeking to reinvent themselves as nations.
The Bund and the Zionists offered two different responses to this challenge. One centered on diasporic nationhood, the other on the creation of a nation state. For both, however, Jewish peoplehood remained the primary concern.
Crabapple concludes her book on the Bund by thanking “the people of Palestine.” It’s a provocative and predictable call in today’s radicalized climate. What remains unclear, however, is who exactly these people are: do they include Israeli Jews? A Bundist answer, I suspect, would be “yes.”
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At Trump’s Christian revival on the National Mall, one rabbi made a Jewish case for America
On the National Mall Sunday, Christian worship music boomed from giant speakers as “Adonai” and other names of God flashed across jumbo screens behind a praise band. Pastors invoked America’s biblical destiny. Sadie Robertson, the Christian social media personality and granddaughter of Duck Dynasty patriarch Phil Robertson, preached from both the Old and New Testaments.
And then Rabbi Meir Soloveichik — the lone Jewish speaker at the planned nine-hour “Rededicate 250” rally called by President Donald Trump, billed as a national “jubilee of prayer, praise and thanksgiving” — stepped to the podium and began talking about Irving Berlin.
Soloveichik, 48, a scion of one of modern Orthodoxy’s most revered rabbinic families and a member of Trump’s Religious Liberty Commission, used his remarks to offer a Jewish case for American exceptionalism, a contrast to the explicitly Christian vision of the nation’s founding that defined the day.
Recalling how Berlin wrote “God Bless America” as fascism spread across Europe and antisemitism consumed the continent, Soloveichik described the song as both a patriotic anthem and a prayer of gratitude from a Jewish immigrant who found refuge in the United States. The hymn, he said, represented “a plaintive prayer to God that America continue to be blessed.”
The four-minute speech fit squarely within Soloveichik’s broader worldview. A senior scholar at the conservative Tikvah Fund and rabbi of Congregation Shearith Israel in Manhattan, the oldest Jewish congregation in the United States, he has long argued that America’s civic ideals are aligned with traditional Judaism and biblical morality. His 2024 book, Providence and Power: Ten Portraits in Jewish Statesmanship, examines Jewish political leadership through the lens of faith and moral responsibility.
For Soloveichik, the connection between Judaism and American identity culminated in the Second World War. He noted that “God Bless America” was first broadcast publicly the day after Kristallnacht, when Nazis destroyed Jewish homes and synagogues across Germany. “At the very moment when darkness deepened,” Soloveichik said, “America raised its voice united in the song that Irving Berlin wrote.”
He added that “in the years that followed 1938, the prayer that is ‘God Bless America’ was carried by American soldiers who defeated evil, liberating Europe and the world.”
Then came the line that drew some of the loudest applause of his remarks: “It is a reminder, as hatred of Jews makes itself manifest again, that antisemitism is utterly un-American.”
Separation of church and state
The moment captured the complicated role Jews increasingly occupy within the Trump-era religious right: embraced as part of America’s Judeo-Christian heritage, even as critics warn that the broader movement surrounding events like Rededicate 250 blurs the line between religious pluralism and Christian nationalism.
Rachel Laser, the Jewish CEO of Americans United for the Separation of Church and State, denounced the rally before the event. “If President Trump and his allies truly cared about America’s legacy of religious freedom, they would be celebrating church-state separation as the unique American invention that has allowed religious diversity to flourish in our country,” she said in a statement. “Instead, they continue to threaten this foundational principle by advancing a Christian Nationalist crusade to impose one narrow version of Christianity on all Americans.”
Sunday’s event — part revival meeting, part patriotic pageant — was the centerpiece of the Trump administration’s religious programming tied to this year’s 250th anniversary of the founding of the United States. Secretary of Defense Pete Hegseth and House Speaker Mike Johnson were slated to appear alongside evangelical pastors, worship leaders and conservative Christian influencers. President Trump and Vice President JD Vance were scheduled to address the crowd by video, while Trump himself spent the weekend golfing after returning from an overseas trip to China.
“This is a recognition of the deeply embedded history and religious and moral tradition of the country,” Johnson said Sunday on Fox News, dismissing criticism that the rally blurred the separation of church and state. Those objecting to the event, he added, “want to erase the history of America.”
No Muslim speakers appeared on the lineup. Organizers promoted Trump’s declaration of a national “Shabbat 250” observance the day prior as evidence of interfaith inclusion.
One of the Sunday event’s chief promoters, Trump spiritual adviser Pastor Paula White-Cain, had reassured supporters beforehand that the gathering would celebrate America’s Christian foundations without “praying to all these different Gods.”
Soloveichik did not address those tensions. Instead, he closed by returning to the image of America as a nation uniquely capable, in his telling, of transforming a Jewish refugee into the composer of one of the country’s most enduring patriotic hymns.
“To sing this song,” he said, “is to be reminded that America’s story is unique.”
“GOD BLESS AMERICA IS NOT JUST A SONG. IT’S A PRAYER.” 🇺🇸🙏
Rabbi Meir Soloveichik delivers a powerful reminder that America’s love of liberty has always been tied to faith — tracing its story and why anti-Semitism is fundamentally un-American. pic.twitter.com/aKMg42nS2I
— Real America’s Voice (RAV) (@RealAmVoice) May 17, 2026
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