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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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Germany’s antisemitism czar says slogans like ‘From the river to the sea’ should be illegal
(JTA) — Germany’s antisemitism czar has urged a law to ban pro-Palestinian slogans such as “From the river to the sea,” renewing a fraught debate over the country’s historic allegiance to Israel and freedom of speech.
Felix Klein’s initiative would ban chants that could be interpreted as calling for Israel’s destruction. His proposal has the support of German Interior Minister Alexander Dobrindt and is now being reviewed by the Justice Ministry, he told Haaretz on Wednesday.
“Before Oct. 7, you could have said that ‘From the river to the sea’ doesn’t necessarily mean kicking Israelis off the land, and I could accept that,” said Klein. “But since then, Israel has really been facing existential threats, and unfortunately, it has become necessary here to limit freedom of speech in this regard.”
Klein, the first holder of an office titled “Federal Government Commissioner for Jewish Life in Germany and the Fight against Antisemitism” since 2018, added that he believed the law must be passed even if it is challenged in court for violating free speech.
Hamas’ Oct. 7, 2023, attacks and the subsequent and devastating Israel-Hamas war in Gaza tore at the seams of Germany’s national doctrines. The war triggered a sharp rise in antisemitic and Isalmophobic incidents across the country. It also exposed charged questions about when Germany prioritizes its responsibility toward the Jewish state, which became central to German national identity after the Holocaust, and when it upholds democratic principles.
The legal boundaries of pro-Palestinian speech are already far from clear-cut. Currently, courts decide whether a person chanted “From the river to the sea, Palestine will be free” in support of peacefully liberating Palestinians or in endorsement of terrorism. In August 2024, the German-Iranian activist Ava Moayeri was convicted of condoning a crime for leading the chant at a Berlin rally on Oct. 11, 2023.
Shortly after the Hamas attacks, local authorities across Germany imposed sweeping bans on pro-Palestinian protests. Berlin officials authorized schools to ban the keffiyeh, a symbol of Palestinian solidarity, along with slogans such as “Free Palestine.”
Jewish and Israeli activists were caught up in the crackdown. In October 2023, a woman was arrested after holding a poster that said, “As a Jew and Israeli: Stop the genocide in Gaza.” And police prohibited a demonstration by a group calling themselves “Jewish Berliners against Violence in the Middle East,” citing the risk of unrest and “inflammatory, antisemitic exclamations.”
Earlier this year, German immigration authorities ordered the deportation of three European nationals and one U.S. citizen over their alleged activity at pro-Palestinian demonstrations. Three of the orders cited Germany’s “Staatsräson,” or “reason of state,” a doctrine enshrining Germany’s defense of Israel as justification for its own existence after the Holocaust.
But that tenet is not used in legal settings, according to Alexander Gorski, who represents the demonstrators threatened with deportation. “Staatsräson is not a legal concept,” Gorski told the Jewish Telegraphic Agency in April. “It’s completely irrelevant. It’s not in the German Basic Law, it’s not in the constitution.”
Jewish leaders such as Charlotte Knobloch, a Holocaust survivor and president of the Jewish Community of Munich and Upper Bavaria, have argued that anger toward Israel created a “pretext” for antisemitism. “It is sufficient cause in itself to fuel the hatred,” Knobloch said to Deutsche Welle in September.
In recent months, two German establishments made the news for refusing entry to Jews and Israelis. A shop in Flensburg, which posted a sign saying “Jews are banned here,” is vulnerable to German anti-discrimination law. Not so for the restaurant in Fürth whose sign read, “We no longer accept Israelis in our establishment,” according to anti-discrimination commissioner Ferda Ataman, who said the law does not apply to discrimination on the basis of nationality.
Klein said he has also initiated legislation to expand that law to protect Israelis and other nationalities.
He has a longstanding relationship with Jewish communities in Germany, starting with his Foreign Office appointment as the special liaison to global Jewish organizations. In that role, he helped create a “working definition” of antisemitism for the International Holocaust Remembrance Alliance in 2016. That definition has sparked contentious debate, as critics argue it conflates some criticisms of Israel with antisemitism.
Klein believes that anti-Zionism does largely fall in the same bucket as antisemitism. “I think in most cases it is — it’s just a disguised form of antisemitism,” he told Haaretz. “When people say they’re anti-Israel, what they really mean is Jews.”
The post Germany’s antisemitism czar says slogans like ‘From the river to the sea’ should be illegal appeared first on The Forward.
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There’s something missing from John Fetterman’s memoir: Israel
There may be no senator who has committed more fervently to supporting Israel, at a greater personal cost, than Sen. John Fetterman.
In the weeks following the Oct. 7 attacks on Israel, the Pennsylvania Democrat began taping hostage posters to the wall outside his office and wearing a symbolic dogtag necklace. He embraced Israeli Prime Minister Benjamin Netanyahu, a pariah to many Democrats. As the civilian death toll in Gaza mounted, he posted constantly on social media to defend the war.
The position has cost him followers, friends, staff and perhaps in the future his seat. But it has also made him a hero in parts of the Jewish community. He received awards from Yeshiva University and the Zionist Organization of America and he was brought onstage as a panelist at the national Jewish Federations of North America convention.
Given the centrality of Israel to his focus in office — he was sworn in only 9 months before Oct. 7 — and how often he posts about it on social media, one might anticipate Fetterman giving it a lengthy treatment in his newly released memoir, Unfettered. The title of the memoir, too, seems to promise candor.
Instead, Fetterman dedicates all of three paragraphs to Israel in a book that largely rehashes lore from before his time in the Senate and discusses his struggles with mental health. These paragraphs — which even pro-Israel readers will read as boilerplate — appear in the book’s penultimate chapter, which is about his declining popularity since taking office.
Some have suggested that the reason some of the media and former staffers turned on me was because of my stance on Israel. Others imply that my support of Israel has to do with impaired mental health, which isn’t true. My support for Israel is not new. I was quoted in the 2022 primary as unequivocally stating that “I will always lean in on Israel.”
There’s a paragraph here about sticking to his morals even if it means defying his party, then:
There was no choice for me but to support Israel. I remembered the country’s history — how it was formed in 1948 in the wake of the murder of six million Jews. Since then, the rest of the Middle East, harboring resentments going back thousands of years, has only looked for ways to eradicate Israel. It took less than a day after the formation of the Jewish state was announced for Egypt to attack it. Every day in Israel is a struggle for existence, just as every day is an homage to the memory of the Jews shot and gassed and tortured.
It’s also clear that war in Gaza [sic] has been a humanitarian disaster. At the time of this writing, roughly sixty thousand people have been killed in Israel’s air and ground campaign, over half of them women, children, and the elderly. I grieve the tragedy, the death, and the misery.
Satisfied with this examination of the hypothesis for his growing unpopularity, Fetterman then moves on to another possible reason: his votes on immigration.
It’s strange to read the Israel passages in light of Fetterman’s full-throated advocacy on any number of issues related or connected to the Israel-Hamas war, including the hostages, campus protests, and rising antisemitism. Even if he did not reckon more deeply with his support for a war that brought about a “humanitarian disaster,” he might have talked about meeting the hostage families, or visiting Israel, or his disappointment that some voices within his party have turned against it.
The production of Unfettered was itself a story earlier this year, and may explain the book’s failure to grapple with a central priority.
Fetterman reportedly received a $1.2 million advance for it, roughly a third of which went to Friday Night Lights author Buzz Bissinger to ghostwrite it. But the two apparently had a falling out at some point, according to the sports blog Defector, which wrote in June that “in the process of having to work with Fetterman, Bissinger went from believing the Pennsylvania senator was a legitimate presidential candidate to believing he should no longer be in office at all.”
Bissinger is not credited anywhere in the book, and does not appear to have contributed. (He refused to discuss the book when a reporter called him earlier this year.)
But the mystifying section about Israel may have nothing to do with a ghostwriter or lack thereof. It may instead be explained by a letter his then-chief of staff wrote in May 2024, in which he said Fetterman “claims to be the most knowledgeable source on Israel and Gaza around but his sources are just what he reads in the news — he declines most briefings and never reads memos.”
The post There’s something missing from John Fetterman’s memoir: Israel appeared first on The Forward.
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How a Russian samovar connects me to the old country — and my black market dealing great-great-grandmother
For as long as I can remember, the golden samovar — a Russian teapot of sorts — has rested somewhere high in our home. In our first house, it sat imposingly on a shelf above the staircase. In our current home, it tops the boudoir in our guestroom. When I was growing up, I didn’t actually know what it was and, until a few years ago, I didn’t think to ask.
Spurred by some unknown impulse — possibly a quarter-life crisis or my mom and dad entering their 60s — I decided to interview my parents on the origin of every object and piece of furniture displayed in our home, gathering information that would otherwise die with them. Some of my questions yielded three-word answers (“It’s a lamp”); others evoked longer stories, like that of my black market-dealing great-great-grandmother.
Rivka Silberberg brought the samovar with her when she and her family — including my great-grandfather — immigrated to the United States from the Pale of Settlement sometime before World War I. According to my grandfather, while Rivka’s neighbors were fleeing religious persecution, she was evading authorities after a neighbor ratted her out for illegally selling items — some say tea, others tobacco — without the proper taxation. My mom thinks it was probably a combination of antisemitism and legal peril that motivated Rivka to leave.
Samovars were an important part of Russian social life in the late 19th and early 20th centuries. Jenna Weissman Joselit, a professor of Judaic studies and history at George Washington University and former Forward columnist, wrote, “The samovar loomed large in Jewish immigrant culture” and “a hefty proportion of Russian Jewish immigrants … lugged the heavy and bulky contraption to the New World.”

They acted both as a comforting, familiar sight and as something that could be pawned when money was tight, Joselit wrote. Clearly, my great-great-grandmother valued her samovar enough to drag it across the Atlantic.
Learning about the items in my house has given me a new appreciation for the objects that were always just a part of my background. Since the samovar is one of the only pieces of my family’s old world life we still have, it’s imbued with a certain sacredness. This samovar is not simply a vessel for brewing tea; It is a symbol of my ancestors’ forced migration, a testament to their ability to make the hard choices necessary for survival.
I am the only grandchild on my mother’s side. My grandfather was also an only child, meaning I am the only great-grandchild of his parents. I alone carry this history. Like the samovar, I am a physical testament to my family’s survival.
It’s a lot of weight to have on your shoulders — or on your shelf.
Being an only child is what made me feel such an urgent responsibility to capture my parents’ stories; if I didn’t save them, no one else would.
But objects are impermanent. They tarnish (as our samovar has). They shatter. They get lost.
As these sacred objects become more enchanted, we also become more vulnerable to their loss. Any damage to them would feel like a devastating blow.
Since my grandmother passed away in 2020, I have been the owner of her wedding band. I can count on my hands the number of times I’ve worn it, primarily on occasions when I want to feel like she’s near, whether on Rosh Hashanah or my college graduation. Otherwise, I keep it in my jewelry box where it can stay safe.
My mom takes a much more relaxed approach. One Passover, a friend set down one of our dessert plates with too much force, and it cracked. My mom, in an effort to reassure the friend, said probably the last thing one wants to hear after breaking someone else’s belongings: “It was my grandmother’s.”
After the friend panicked for a moment, my mom realized how the words had sounded.
“No, no, no,” she said. “I mean that it’s so old.”
Old things break. It’s part of their natural course of existence. For my mom, this was just an inevitable fact of life. Even without the dessert plate, she has memories of her grandmother to hold onto.
It’s taken me longer to accept the impermanence of objects. Only recently has the loss of a cheap earring not felt like the end of the world.
Luckily, because of its size and shape, the samovar would be a hard thing to misplace. In the future, if it needs to be moved, I’ll make sure I do so with care. But if for some reason something should happen to it, I am comforted to know that the story of Rivka and her smuggling ways lives on within me.
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