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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.” 


The post Documentary traces Idina Menzel’s rise from bat mitzvah performer to Broadway icon appeared first on Jewish Telegraphic Agency.

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Israel and the Impossible Standard of Moral Perfection

Jewish visitors gesture as Israeli security forces secure the area at the compound that houses Al-Aqsa Mosque, known to Muslims as Noble Sanctuary and to Jews as Temple Mount, in Jerusalem’s Old City, Photo: May 5, 2022. REUTERS/Ammar Awad

There is a standard applied to Israel that no other nation is expected to meet. It is not a standard of law, nor of morality as commonly understood. It is something far more rigid and far less honest. It demands perfection in the face of existential threats, and even then, it delivers condemnation.

As the conflict with Iran intensifies, Israel finds itself navigating a reality few countries have ever faced.

Iran has made its intentions unmistakably clear for decades. The destruction of Israel is not rhetoric for domestic consumption. It is official Iranian policy. It is repeated openly, consistently, and without apology.

When Iran strikes, it does not distinguish between civilian and military targets. In fact, it purposefully targets civilians. And it doesn’t only target Jews. Rockets do not ask who is religious or secular, Jewish or Muslim, Israeli or Arab. They fall where they are aimed, and often where they are not, with one purpose in mind: to kill, to terrorize, and to destabilize.

Israel, in contrast, is forced to think not only about survival, but about responsibility. This includes responsibility toward all of its citizens: Jewish, Muslim, Christian, Druze. The diversity of Israeli society is often overlooked, but in moments of crisis, it becomes impossible to ignore. Protection must extend to everyone, without exception.

That is why restrictions on public gatherings were imposed. Not as a political statement, but as a practical necessity. In wartime, large crowds are not just gatherings. They are potential mass casualty events waiting for a single missile.

Yet when Israel extended these restrictions during Ramadan, including closing access to major religious sites, the response was immediate outrage. The accusation was predictable: Religious discrimination. Oppression. A supposed targeting of Muslim worshippers.

The reality was different. The restrictions applied across the board. Muslims were not permitted at the Al-Aqsa Mosque. Christians were not permitted at the Church of the Holy Sepulchre. Jews were not permitted at the Western Wall or the Mount of Olives. This was not selective enforcement. It was a universal policy driven by security concerns.

But nuance rarely survives in the modern information environment.

Within hours, a simplified narrative took hold. Israel was once again cast as the aggressor, the oppressor, the state that denies religious freedom. The broader context disappeared. The ongoing threat, the indiscriminate nature of incoming attacks, the responsibility to prevent mass casualties, all of it was pushed aside.

Then, almost as if to underline the point, a rocket landed near Jerusalem’s Old City that very same day. It was a stark reminder of what was at stake. Had thousands gathered as they normally would, the consequences could have been devastating.

And yet, even that reality does not shift the narrative.

This is the dilemma Israel faces repeatedly. If it acts to prevent harm, it is accused of repression. If it refrains and harm occurs, it is blamed for negligence. There is no decision that escapes criticism, because the criticism is not rooted in the decision itself. It is rooted in a predetermined judgment against a state run by Jews.

Another example illustrates this pattern with uncomfortable clarity. A toddler was found approaching the Israeli border alone. In any other context, this would be seen for what it is. A child placed in danger, likely as part of a calculated attempt to provoke a reaction.

Israeli soldiers responded not with force, but with care. They ensured the child’s safety, provided food and water, and transferred him to the Red Cross. Evidence showed the child was unharmed at the time of transfer.

Yet the story that followed claimed abuse. Allegations of injuries surfaced, contradicting the available evidence. The facts did not matter. The narrative had already taken shape.

This is not simply misinformation. It is a pattern of interpretation that assumes guilt regardless of evidence.

As Easter approaches, restrictions on religious gatherings once again draw criticism. Clergy voice frustration. Observers condemn the limitations. But the fundamental question remains unanswered: What is the acceptable level of risk? How many lives can be gambled in the name of normalcy?

Israel does not have the luxury of abstract debates. Its decisions carry immediate consequences measured in human lives. That reality forces choices that are imperfect, often unpopular, and always scrutinized.

The tragedy is not only in the conflict itself, but in the inability of much of the world to acknowledge its complexity. Until that changes, Israel will continue to face an impossible standard, one where even its efforts to prevent tragedy are reframed as acts of injustice.

Sabine Sterk is the CEO of Time To Stand Up For Israel.

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Europe’s Left-Wing Is at a Crossroads — And Its Voters Are Walking Away

Anti-Israel demonstrators release smoke in the colors of the Palestinian flag as they protest to condemn the Israeli forces’ interception of some of the vessels of the Global Sumud Flotilla aiming to reach Gaza and break Israel’s naval blockade, in Barcelona, Spain, Oct. 2, 2025. Photo: REUTERS/Nacho Doce

For decades, Europe’s left‑wing parties were the natural home of working‑class families, social reformers, and supporters of egalitarian economics.

Today, however, these parties face a deep identity crisis; many voters no longer know what they represent. Their decline is neither sudden nor mysterious. It stems from their failure to outline a coherent economic alternative, their reluctance to address public concerns over cultural change, and a foreign‑policy shift that alienates moderates and minority communities alike.

Economically, the left has slipped into disarray. Some parties now embrace neoliberal ideas they once opposed, while others offer vague promises disconnected from real policy. With inflation rising, industries shifting, and inequality widening, many working‑class voters feel abandoned. Rather than addressing these issues, left‑wing leaders often focus on internal ideological debates that resonate mainly in urban strongholds.

A similar pattern appears on immigration and cultural identity — central issues in European politics. The left often responds to public concerns not with solutions but with dismissal, treating working‑class worries as reactionary instead of substantive. In countries where leftist parties have merged with centrists, their message has blurred even more, creating space for right‑wing populists eager to fuse economic frustration with cultural fears.

Foreign policy has intensified these divides. After the latest Middle East conflict, parts of the European left adopted an uncompromising pro‑Palestinian stance, often aimed at courting Muslim voters. Legitimate criticism of Israeli policy is one thing, but rhetoric that blames Israelis collectively or echoes historic antisemitic themes is another.

France’s La France Insoumise (LFI), for example, has repeatedly refused to classify Hamas as a terrorist group, fueling what observers describe as a toxic climate. Similar tensions appear in Sweden, where Jewish students report rising hostility, and in Spain, where pro‑Palestinian rallies receive political backing without clear rejection of antisemitic elements.

Even smaller nations face similar issues. In Croatia, descendants of Jewish families whose property was seized under fascist and later communist regimes still encounter heavy bureaucratic barriers when seeking restitution. As Deutsche Welle reporting shows, heirs in Zagreb — governed by the green‑left coalition Možemo! — spend years navigating courts and administrative obstacles, with many properties still unrecovered despite clear historical proof of ownership. These unresolved legal complexities fuel mistrust and reveal how institutional inertia persists.

The left’s challenge is not simply to recover lost voters, but to regain a sense of political purpose. It must craft a credible economic message, engage cultural concerns without contempt, and articulate a foreign policy grounded in principle rather than posturing.

Europe needs parties capable of balancing social justice with social cohesion — and clarity with empathy. Whether the left can meet that challenge will shape the continent’s politics for years to come.

Dr. Vladimir Krulj is a political economist with Franco‑Serbian roots, educated at HEC Paris, King’s College London, and France’s elite École nationale d’administration (ENA). A Fellow at the Institute of Economic Affairs in London, he is known for his unapologetically pro‑market views and his critiques of Europe’s failing economic orthodoxies. He also teaches at ESCP Business School and the University of Tours in France.

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When Democracies Lose the Narrative, They Lose More Than Words

A view of a residential building damaged by a strike, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 23, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS

Israel is fighting a war, and being judged in real time by people who are not carrying its risks, don’t face its decisions, and aren’t responsible for its outcomes. The judgment against Israel is not forming slowly. It is forming immediately, and it is shaping what Israel is allowed to do next.

This is where the real shift happens. Public opinion is not a side effect of war. It is becoming one of its constraints.

In the months and years following October 7, 2023, Israel’s internal reality became visible to anyone willing to look. Families of hostages have spoken publicly. Military strategy has been debated in real time.The political leadership has been questioned openly. These are not cracks in the system. They are the system functioning under pressure.

Outside of Israel, those same signals are being interpreted through a different lens. They are not seen as accountability. They are seen as division, not as strength.

At the same time, Israel’s enemies project a consistent message. Their narrative is simple, repeated, and controlled. It travels easily. It feels clear. It leaves little room for visible disagreement.

When public opinion turns, it begins to influence political pressure. Allies become more cautious. Support becomes conditional. The space to act narrows.

This is how a democracy can begin to lose ground outside the battlefield while still fighting effectively within it.

In today’s information environment, visibility does not guarantee understanding. Information is selected, framed, and repeated in ways that shape perception, often reflecting how perception gets manipulated.

At the same time, controlled messaging from the other side removes internal friction from public view. What reaches the outside world is a simplified version of events: Israel as the aggressor, and anyone that tries to attack or threaten it as the heroic underdog.

People are drawn to clarity. A message that is repeated without variation feels reliable. Over time, repetition shapes belief and narrows the range of what people are willing to consider. This pattern reflects how groupthink leads to collective blindness. Once a simplified narrative settles, it becomes resistant to correction, even when it leaves out essential context.

Israel faces an additional layer of scrutiny. As a democracy, it operates within a framework of law and declared ethical standards. Its actions are measured against those standards in real time. Civilian harm is debated openly. Operational decisions are questioned publicly. This is necessary for accountability. It also places the full weight of war in public view, including the reality of acceptable damage in conflict

These discussions are often detached from the conditions in which those decisions are made. They are evaluated without the same exposure to risk, uncertainty, and consequence. The result is a gap between how decisions are made and how they are judged.

That gap is where public opinion shifts.

From a distance, consistency feels stronger than complexity. A controlled narrative feels more stable than an open one. Over time, this creates a reversal in perception. The side that exposes its internal responsibility begins to look uncertain. The side that conceals its internal dynamics begins to look resolved.

When clarity is valued more than accuracy, and repetition carries more weight than context, the advantage moves toward those who control the message, not those who expose the truth.

Israel is not only fighting to defend itself. It is operating within a system that rewards simplicity and penalizes transparency. Ignoring that reality allows others to define the terms of judgment before the outcome is even known.

Public opinion follows what is repeated and understood. Recognizing how that understanding is formed is no longer optional. It is part of the fight itself.

Do something amazing,

Tsahi Shemesh is an Israeli-American IDF veteran and the founder of Krav Maga Experts in NYC. A father and educator, he writes about Jewish identity, resilience, moral courage, and the ethics of strength in a time of rising antisemitism.

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