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Documentary traces Idina Menzel’s rise from bat mitzvah performer to Broadway icon
(JTA) — Before becoming one of the most iconic vocal performers of her time, appearing in Broadway shows such as “Rent” and “Wicked” and voicing Queen Elsa in “Frozen,” Idina Menzel got her start singing as a teenager on the wedding and bar and bat mitzvah circuit near where she grew up on Long Island and other parts of the New York area.
“It was everything to me, formatively,” Menzel told JTA in an interview, of her early singing experiences. “I believe… that that had a lot to do with my education in music and genres, but also as a performer. I was so young when I did it… I would lie about my age, I would be 15 or 16 years old and I’d dress all mature and go in in high heels. I would usually be the only woman in a group of six guys.”
In the new documentary “Idina Menzel: Which Way to the Stage,” which had its world premiere in mid-November at the DOC NYC film festival and lands on Disney+ on Friday, Menzel discusses those experiences, even returning to the main venue where she used to perform at weddings and bar mitzvahs (the Inn at Fox Hollow in Woodbury, New York). The film also shows Menzel in Pittsburgh in the immediate aftermath of the Tree of Life massacre and shows her sharing her thoughts on it as a Jewish person.
The film, directed by Anne McCabe, follows Menzel’s 2018 arena tour, along with Josh Groban, which culminated in Menzel fulfilling her lifelong dream of headlining Madison Square Garden. It combines concerts with intimate behind-the-scenes moments, as well as archival footage from Menzel’s early life and throughout her career.
“When I heard that the tour was going to culminate at Madison Square Garden, I realized that it was a dream come true — it was a place that I’d always wanted to play, growing up on Long Island, and living in New York City, at NYU and beyond that,” Menzel said. “The fact that I was going to be playing there was a big deal, and I wanted to film it, no matter what I did with the footage, I know I just wanted to document it for myself, so I could take that in and really just appreciate the moment.”
As is often the case with documentaries, the film evolved a bit from its original purpose.
The film follows Menzel during a 2018 tour. (Eric Maldin/Walkman Productions Inc.)
“In the process of filming it… it revealed itself in a different way. It became not just a tour documentary going city to city, but more about motherhood, and how we balance trying to pursue our passion and our dreams and also being there for our family,” she said. “That was a welcome surprise in the process.”
The documentary shows Menzel with her then-preteen son — from her previous marriage to Taye Diggs — and her husband, actor Aaron Lohr, while going through the process of in vitro fertilization.
The tour that the film follows arrived in Pittsburgh about two weeks after the 2018 Tree of Life synagogue massacre, and Menzel is shown singing the “Rent” number “No Day But Today” to a crowd at Pittsburgh’s PPG Paints Arena. (Menzel more recently wrote and performed a song called “A Tree of Life,” which was featured in the closing credits of a recent HBO documentary about the tragedy and its aftermath.)
In that part of the film, Menzel wears a shirt with a Jewish star that says “Stronger Than Hate.”
“That show was all about tolerance,” Menzel says of “Rent” in the film, while on stage in Pittsburgh. “It was about love, it was about community… I’m sitting here in this beautiful city, a Jewish girl from Long Island. I thought about how we light candles in the Jewish religion, sort of choosing light over darkness, choosing love over bigotry.”
“That particular concert is now tragically defined but what had happened in Pittsburgh, and I felt like I couldn’t ignore that, and I felt like that song was the right song for the moment, and that there was any way I could use my music to help heel then I wanted to do it,” she told JTA.
The documentary also looks back at Menzel’s entire career, from breaking through in the original production of “Rent” in the mid-1990s (the “which way to the stage” subtitle, as “Rent”-heads will know, is a reference to what was Menzel’s very first line in that musical), to an ill-fated run at a pop career, to her second big musical smash, “Wicked,” which landed on Broadway in 2003. Viewers also get the story of the “Frozen” phenomenon and its Menzel-performed torch song “Let it Go,” as well as other notable episodes — such as the time John Travolta mispronounced her name at the Oscars in 2014. (Menzel finds the whole thing hilarious.)
The COVID-19 pandemic was not the only obstacle in getting the documentary, which was mostly filmed four years ago, to the finish line. Menzel said in a post-screening Q&A at DOC NYC that because the documentary ended up on Disney+ and she is the voice of Queen Elsa, some curse words had to be taken out, as did a scene where she clutches a bottle of wine.
“I lost the funding at one point, and so I bought [the film] back,” Menzel said. “I wanted to find people that really believed in it and were going to creatively do right by it. I gambled on myself, which I try to do, and try to make a point of it. I’m just so happy that it’s come to fruition.”
The singer has spoken often about her admiration for another prominent Jewish singer and actress, Barbra Streisand. In her JTA interview, she praised the way Streisand “embraces her Judaism.” In the film, Menzel sings “Don’t Rain on My Parade” from “Funny Girl, the 1968 movie version that starred Streisand.
“I love her because she’s her. There’s no one else like her, and always aspired to be her unique true self. She didn’t change herself for anyone else. I also feel like, from a vocalist’s perspective, her talent is insurmountable. The way she sings, it feels like it’s just coming directly from her soul, it feels effortless. The way she tells the story through her singing, that I don’t think anyone else has.”
Menzel’s career is about to come full circle, with another bar/bat mitzvah-related performance: she is set to co-star in “You Are So Not Invited to My Bat Mitzvah,” a Netflix movie adapted from the young adult novel by Fiona Rosenbloom and directed by Sammi Cohen. The film will reunite Menzel with Adam Sandler, who played her husband in 2019’s “Uncut Gems” and will do so again in the new movie. (Menzel also brought up her character’s bat mitzvah in that very Jewish-themed film by the Safdie brothers.)
“We were much more dysfunctional in that movie,” Menzel said of “Uncut Gems”.
“You Are So Not Invited to My Bat Mitzvah” does not have a release date but is expected to arrive sometime in 2023. For now, she’s reveling in the documentary.
“It was just such a joy because I got to look back on it… I got to see myself as a little girl again,” Menzel said. “How I always believed in myself, even more so than maybe I do now. There was no one who was going to tell me that I wasn’t going to live my dream one day. I believed that I had something to offer the world, and so it was really emotional for me to see.”
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Tidbits: New German textbooks about the Jewish religion
Tidbits is a Forverts feature of easy news briefs in Yiddish that you can listen to or read, or both! If you read the article and don’t know a word, just click on it and the translation appears. Listen to the report here:
צום ערשטן מאָל זינט דעם חורבן האָבן די דײַטשישע עפֿנטלעכע שולן באַקומען לערנביכער געווידמעט דער ייִדישער רעליגיע, כּדי די לערערס זאָלן קענען זיי ניצן ווי אַ טייל פֿונעם קוריקולום.
די סעריע פֿון אַכט בענד, „דעת הדורות“ (דאָס וויסן פֿון די דורות), וועט לערנען תּלמידים צווישן 10 און 16 יאָר אַלט אויף דײַטש וועגן דער תּורה, דעם תּנך, די תּפֿילות, ייִדישער עטיק, הלכה, יום־טובֿים, דעם ייִדישן לעבנס־ציקל און דער ייִדישער געשיכטע.
דער ערשטער באַנד, וואָס קאָנצענטרירט זיך אויף דער תּורה, וועט מען אָנהייבן ניצן אינעם נײַעם שוליאָר.
די ביכער, וואָס זענען צונויפֿגעשטעלט געוואָרן דורכן „צענטראַל-ראַט פֿון די ייִדן אין דײַטשלאַנד“ בשותּפֿות מיטן „ערנסט קלעט פֿאַרלאַג“, ווערן געצילעוועט סײַ אויף פּריוואַטע ייִדישע שולן סײַ אויף מלוכישע שולן איבער גאַנץ דײַטשלאַנד.
דער ציל איז צו באַקענען די תּלמידים מיט דער ייִדישער רעליגיע און טראַדיציעס אין אַ צײַט וואָס עס וואַקסט דער אַנטיסעמיטיזם איבערן לאַנד.
ביז איצט האָבן די לערער פֿון רעליגיעזע ייִדישע לימודים נישט געהאַט קיין מאָדערנע לערנביכער וועגן יהדות אין הסכּם מיטן קוריקולום, אַזוי ווי ס׳האָבן געהאַט די לערער פֿון קריסטלעכע רעליגיעזע לימודים. צוליב דעם בלויז האָבן די לערער פֿון דער ייִדישער רעליגיע געמוזט אַליין צונויפֿשטעלן אַרבעט־בויגנס און אַנדערע מאַטעריאַלן, וואָס זיי האָבן איבערגעזעצט פֿון אַנדערע שפּראַכן.
אין אַ מעלדונג האָט שילה ערלבוים, די אָנפֿירערין פֿונעם אָפּטייל פֿון פּאָליטיק און רעליגיע בײַם ייִדישן צענטראַל־ראַט, געזאָגט: „מיר האָבן טאַקע געדאַרפֿט אַ סיסטעמאַטישן לערן־רעסורס, וואָס באַזאָרגט די קינדער נישט בלויז מיט לערן־מאַטעריאַל, אָבער מוטיקט זיי זיך אַקטיוו צו באַטייליקן,“ האָט זי געזאָגט.
„דורך ׳דעת הדורות׳ קענען זיי לייזן בילדער־רעטענישן; זיך דערוויסן וועגן די געשעענישן פֿון משה רבינוס לעבן דורך אַ ווערפֿל־שפּיל, אָדער אויספּרוּוון זייער וויסן פֿון ייִדישע טערמינען דורך דער מאָבילקע אָדער אַ „גיכענטפֿער קאָד“ (QR code),“ האָט ערלבוים געזאָגט.
יאָזעף שוסטער, דער פּרעזידענט פֿונעם ייִדישן צענטראַל־ראַט, האַלט אַז די לערנביכער זענען אַ וויכטיקער אויפֿטו. „אַ דאַנק דעם פּראָיעקט וועט די ייִדישע רעליגיעזע בילדונג איצט זײַן גלײַך מיט די קריסטלעכע רעליגיעזע לימודים,“ האָט ער געזאָגט.
צו לייענען וועגן דעם אויף ענגליש גיט אַ קוועטש דאָ.
To read about this in English click here.
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Far-right win in German regional race sends shockwaves through Europe
(JTA) —
A victory for Germany’s far-right party in an eastern federal state has reverberated across the globe, exposing the widening rifts between alarmed centrist leaders and insurgent nationalist movements in Europe.
The Alternative for Germany (AfD) party won 43.8% of the vote in an election in Saxony-Anhalt on Sunday, crushing the center-right Christian Democratic Union (CDU), German Chancellor Friedrich Merz’s party, which held 17.2% support, according to preliminary figures.
The AfD is now heading toward 39 seats in Saxony-Anhalt’s 83-seat state parliament. It’s expected to fall 3 seats short of an outright majority, leaving open the question of whether it can form Germany’s first far-right state government since World War II. The party has proposed a sweeping nationalist agenda that includes deporting immigrants, defunding “anti-German art” and teaching children less about the country’s Nazi past.
Merz told reporters in Berlin on Monday he was “deeply shocked” and “unsettled” by the results, which he said rippled through the rest of the country and the world. He added that it was impossible for Germany to “go back to business as usual” after so many voters in Saxony-Anhalt chose a party that “questions the democratic institutions in our country.”
The results dealt the CDU its “most severe defeat” in decades, conceded Merz, who leads the party once headed by former German Chancellor Angela Merkel.
Merz said that he was searching for answers to “why far-right populism and far-right extremism was able to rise in such a rapid manner,” suggesting that his party may have underestimated the “fears of our population” amid economic crises and rapid technological change. He said that minorities in Saxony-Anhalt would be particularly vulnerable under an AfD government, but noted that the state would still have obligations to follow federal law, including regarding immigration policy.
Merz also directed his message to the rest of Europe, saying that Germany had a “special responsibility because of its history” to keep its political order “deeply anchored in Europe.”
Despite the scale of the CDU’s defeat in Saxony-Anhalt, Merz ruled out stepping down, saying, “Giving up is not an option.”
Though Saxony-Anhalt is one of Germany’s smallest regions, home to some 1.7 million voters, its election results quickly sent shockwaves through other European countries whose leaders, like Merz, are fighting to fend off far-right, anti-immigrant parties in national elections next year.
French Europe Minister Benjamin Haddad called the AfD’s regional win a “grave moment in Europe” and said that “nationalism and xenophobia will never be a solution.”
“We cannot forget our history,” said Haddad, an ally of centrist President Emmanuel Macron. “That is the meaning of the choices made by France and Germany.”
France’s government faces its own fears of a right-wing populist wave. Marine Le Pen, the head of the far-right National Rally, has dwarfed all other candidates in polls heading into France’s presidential election in 2027, when term limits force Macron to step down.
Across the Channel, British Chief Secretary to the Treasury Emma Reynolds said in an interview on Times Radio that the U.K.’s Labour government “will not be reaching out to a right-wing populist party.” She added that she put the AfD in “the same political bracket” as Reform UK, the far-right party that surged in local elections earlier this year.
Polish Prime Minister Donald Tusk also condemned the AfD’s victory. The far-right party has alarmed Poland, Ukraine’s neighbor, with its pro-Russia stance, as it seeks to halt Germany’s military aid to Ukraine and sanctions against Russia.
“In Poland, only idiots or traitors can rejoice at the triumph of the AfD in Germany,” said Tusk.
Meanwhile, the AfD was cheered by nationalist, anti-immigration party leaders in Spain, Portugal and the Netherlands, all of whom have sought to capitalize on economic and social grievances similar to those that contributed to the AfD’s victory Sunday.
Santiago Abascal, the head of Spain’s far-right Vox party, called the result “a great hope for Germany and for Europe.”
André Ventura, the founder of Portugal’s far-right Chega party, said that “the Germans too are opening their eyes against illegal and uncontrolled immigration, corruption, and the capture of our freedom and identity.”
And in the Netherlands, the AfD received a “Congratulations” from the far-right Party for Freedom’s leader, Geert Wilders.
While President Donald Trump has yet to officially respond to the Saxony-Anhalt election, he posted a screenshot of the results without comment on his Truth Social account Sunday night.
Trump’s post was shared by Kirill Dmitriev, a Russian presidential envoy and businessman, who said the AfD scored a “historic win” that would “put migration under control.”
Elon Musk, the billionaire and former Trump adviser who campaigned for the AfD last year, gave his support to the national party leader Alice Weidel on X, which he owns, writing “Well done” in German.
Ulrich Siegmund, the AfD’s candidate in Saxony-Anhalt who hopes to become the state premier, responded by praising Musk.
“Thank you, @elonmusk, for your support and for your clear and highly important perspective on the political developments of our time — including here in Germany,” he wrote.
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In new ‘Fauda’ season, the aftershocks of Oct. 7, without a thought for Gaza
When Fauda Season 4 ended an eternity and a devastating war ago, our hero was at death’s door, reciting both the central prayer of Judaism, the Shema, and the Muslim Fatiha.
It was a cliffhanger with monumental implications for Doron Kavillio (Lior Raz), an Israeli Jew who spent his days undercover as a Muslim Arab — an identity crisis long in coming. Zoom out and you can see the doomed duality of Israel and Palestine, Jew and Muslim, connected in a cycle of death and more alike than they may seem.
Season 5 begins bilingually, with Hebrew and Arab definitions of the Arabic word Tha’r, blood revenge, “restoring violated honor or avenging injustice.” This concept is now the point of commonality — not how men pray, but how they seek revenge.
Welcome to a post-Oct. 7 Israel. Doron is in therapy, struggling to recall eight missing hours of his life on the day of Hamas’ attack on the Gaza envelope.
Comrades have left the country — Steve (Doron Ben-David) is protecting oligarchs in London, Sagi and Nurit are in Australia. Eli (Yaakov Zada-Daniel) is now Orthodox, living in a settlement and reeling from the murder of his wife and stepchildren at his now-torched kibbutz. When a Bedouin friend, Salem (Bian Anteer) who lost his son in the raid on Eli’s home, approaches him with a tip on the Nukhba fighter responsible, they depart for Marseille to answer the call of Tha’r.
It would hardly be Fauda if this act of vengeance didn’t give way to a much larger plot. Marseille is the staging ground for Saeed el Hatib (French-Algerian actor Hakim Djaziri), “the Sinwar of Europe,” who is recruiting sympathetic, white continentals for a fresh massacre in Israel.
Fauda has always made some viewers uncomfortable. Massively entertaining, bingeable to those of us who stream it in the Netflix aftermarket, its existence was premised on ongoing injustices in the West Bank and Gaza and the violence that bursts through their borders. (The BDS movement labelled it a “war-crimes glorifying” series;” Haaretz called it “morally dubious.”)
And yet as late as the last season it contained very real criticism of Israel’s conduct, including its costly campaigns to recover captured soldiers and the torture used to extract information on their whereabouts. The show always alluded to real operations — Cast Lead, Brother’s Keeper — in dialogue. But because it can’t merely mention an attack as raw and monumental as Oct. 7, and because it has no desire to question the response to it, it chooses to recreate its savagery.
Episodes 7 and 8, flashbacks to that day, are front-loaded with a trigger warning and a disclaimer that you can skip them and still be able to follow the main plot.
It’s hard for me to recommend those episodes. If not exactly atrocity porn, their central, race-against-time set piece is too anchored in recent events and constructed too much like an action movie. It feels in a sense exploitative, even if intended as a tribute. (To give them credit, both Lior Raz and his co-creator Avi Issacharoff, who said they “wrote from their trauma,” were on the ground helping the south of the country evacuate in the aftermath.)
The new season starts with the promise of complexity. It opens on a grieving Muslim father and shifts to a milksop accountant who worked for Hamas, seemingly tortured by Eli in a blind rage for a crime he didn’t commit. Could an excessive devotion to Tha’r, a tribal code of retribution, be the diagnosis of the show’s creators of Israeli society at this moment?
If it is, it’s not a critical one. The villains are the villains, and, most revealingly, they now number people with no connection to the conflict.
Hatib’s enlistment of white Europeans for a mass-casualty terror attack services a trite narrative of postcolonial guilt finding an outlet in the pro-Palestinian cause. It works on another level too: This fighting force is squaring off against Doron’s corps of Mizrahi Jews, whose mere presence dismantles the lie that Israelis are themselves all white colonizers, and that Israel and the European empire of yore are in any way analogous.
When, back at mission control, the counterterrorists speak of “suspicious-looking Europeans” who are “in their 30s,” the derision for this type of fellow traveller is palpable. Their standard bearer, Mélanie Laurent, formerly Tarantino’s “face of Jewish vengeance,” plays Anne, a blonde, “high middle-class Catholic French woman” who straps up with C-4, a keffiyeh ever-draped around her neck. Through her, and in a quite literal way, the show suggests the Western love affair with Palestinians — which in this season’s logic means Hamas — is misguided.
All the while, we never see Gaza, where much of Season 3 was set, with some among its population humanized. We never reckon with the destruction there. We hear about it, and a kind of lip service is paid to the crime of collective punishment — the sort that we hear at the end of almost every season — but it’s secondary to storytelling as elegy and justification. One could just have easily placed the Hebrew word Zachor before that first cold open: Remember what they did to us.
At one point, after a shootout with more blood spatter than I ever recall seeing on the show, Doron empties his clip into an enemy with the words “this is for October 7.” Seconds later, in a Shin Bet command room his handler Gabi (Itzik Cohen, whose between-seasons weight gain is a running joke) quips, a la Danny Glover in Lethal Weapon, “I’m too old for this.”
He’s not the only one.
In the past week I’ve chatted with some folks older than me — they don’t know each other and are largely to my right on Israel — who don’t relish the thought of another season. Not just because they don’t want to watch Oct. 7 reenacted, but because following the exploits of Israeli security agents has vastly different optics after the Hamas-Israel war, unprecedented settler violence and National Security Minister Itamar Ben-Gvir’s recently-stated ideal scenario of killing “30 or 40” Palestinians in Gaza each night.
This may well be the privilege of the diaspora, but the fatigue points to a shift in attitude that’s worth paying attention to. If these horrors are out of sight, out of mind this season, they’re top of mind to many who are watching — and many others who might have once tuned in.
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