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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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Guinness World Records Starts Accepting Israeli Submissions Again Following Legal Pressure
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
Guinness World Records (GWR) is once again accepting submissions from Israel and the Palestinian territories, following pressure from an association of British lawyers that claimed the policy was discriminatory and threatened the validity of Guiness’s registered trademarks.
GWR confirmed to UK Lawyers for Israel (UKLFI) via email that it ended its temporary pause on submissions from Israel and the Palestinian territories that was implemented in November 2023, shortly after the start of the war in the Gaza Strip following the Hamas-led Oct. 7 terrorist attack across southern Israel.
The exclusionary policy drew widespread condemnation in early December after Guinness World Records refused to accept a submission from the Israeli NGO Matnat Chaim, which was hoping to set a world record with an event in Jerusalem where 2,000 Israeli kidney donors will gather in one place.
GWR told Matnat Chaim at the time it was “not generally processing” record applications from Israel or the Palestinian territories “with the exception of those done in cooperation with a UN humanitarian aid relief agency.” Guinness denied claims that its policy against submissions from Israel or the Palestinian territories unlawfully excluded and discriminated against Israelis and Palestinians because the policy was based on location, not nationality or ethnicity.
In late December, UKLFI wrote to Guinness and warned that the company could face legal risks because of the policy and that it amounted to indirect discrimination. UKLFI noted that marketing publications under the title “Guinness World Records” while excluding records from in Israel or the Palestinian territories could be considered unfair commercial practice under consumer protection law. The policy could also risk the validity of Guinness’s registered trademarks, according to UKLFI.
Starting Jan. 15, GWR resumed its “routine acceptance” of applications, it told UKLFI in an email shared with The Algemeiner.
“We have continued to monitor the situation in the region carefully, reviewing the policy monthly,” GWR wrote. “The recent ceasefire and the return to a more stable environment have been key factors in these reviews. With these factors in mind … we recommenced our routine acceptance of applications for world records from Israel and the Palestinian Territories, including the application made by the Matnam Chaim charity.”
The company added that the decision to resume processing applications from the region was not an admission that its temporary pause had been unlawful or that its trademarks had been used improperly. Guinness also shared that several records set in Israel had in fact been recognized during the temporary pause. They included records for the fastest robot to solve a rotating puzzle clock, most backward somersault burpees in 30 seconds done by a male, oldest female person to perform a headstand, most sequences completed in a game of “Simon,” and tallest drag performer.
“Guinness World Records’ decision to resume accepting submissions from Israel and the Palestinian territories is welcome,” said UKLFI chief executive Jonathan Turner. “Excluding particular countries carries serious legal and commercial risks. Global organizations cannot present themselves as neutral and inclusive while applying exceptional policies to certain countries, particularly where this misleads consumers and disadvantages entire populations.”
Israeli Foreign Minister Gideon Sa’ar also commented on GWR’s change in policy, celebrating that the massive gathering of kidney donors in Jerusalem will be recognized.
“Two thousand Israeli kidney donors are making the largest donation ever, in a selfless act of solidarity and humanity,” Sa’ar posted on the social media platform X on Monday. “Good to see it finally receive the celebration it deserves by the Guinness World Records, which revoked their original distorted decision to deny Israeli kidney donors their rightful recognition.”
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California Theater Apologizes for Canceling Show by Israeli Comedian After He Refuses to Condemn Home Country
Illustrative: Bondi shooting survivor Chaya Dadon, 14, holds a pendant, in the shape of Israel, and a partial Star of David engraved on it, that she bought a few hours before the shooting in Sydney, Australia, Dec. 19, 2025. Photo: Reuters/Cordelia Hsu
The Fine Arts Theater in Beverly Hills, California apologized for canceling a show by Israeli stand-up comedian Guy Hochman after he declined the venue’s demand to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
In a statement posted on Instagram and on the theater’s website over the weekend, Michael S. Hall, president of the Screening Services Group, acknowledged that canceling Hochman’s scheduled appearance on Tuesday at the Fine Arts Theater was poorly handled. He said the venue, which will host screenings as part of the 37th Israel Film Festival in February, has contacted Hochman’s representatives and is open to rescheduling his performance if “it can be done safely.”
The relationship between the theater and the Screening Services Group was not immediately clear.
Hall also admitted that the decision to cancel the show was made after he and the theater received several messages from the public, including threats of violence, related to Hochman’s performance.
“I want to apologize, especially to the Jewish community, for my statement and for how this situation was handled,” Hall wrote. “I understand that my decision caused harm and distress to many people in the community, and I take responsibility for that … I made the decision to cancel the show without giving the matter the careful thought and judgement it required. That was my mistake.”
He also acknowledged it was wrong to ask a performer “to make political or ideological statements as a condition of appearing” and that “imposing a litmus test of any kind was a mistake and should never have happened.”
“The Fine Arts Theater has supported and will continue to support Jewish and Israeli projects, artists, and community events,” Hall added. “I am committed to ensuring the theater remains a place for culture and expression without discrimination. I am already engaging with members of the local Jewish community and will continue to listen, learn, and work with community leaders moving forward.”
Hall’s apology follows a public statement from the venue that said Hochman was banned from the theater after he declined to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
The statement also acknowledged that the venue could not corroborate accusations made against the comedian but still asked him to issue a public statement against Israel. Hochman talked about the venue’s demands in an Instagram video and said he will never condemn his home country.
The former Israel Defense Forces (IDF) soldier further told The Hollywood Reporter he does not accept Hall’s apology and refuses to return to the venue.
“Do I think he’s sincere? No. He’s doing it because he was pressured,” Hochman said of Hall. “He doesn’t care. He tested me, like a loyalty test. For me, my people come before my career. I don’t care about money. I will never say lies about my people. I will never say things like rape, starvation, or genocide. That is not the story, and I don’t believe it … Jewish pride comes before everything.”
Actress and comedian Amy Schumer came to Hochman’s defense on Sunday. In an Instagram story, she wrote that the venue’s demand for Hochman to publicly condemn his country was “straight up wrong.”
“They canceled his show, admitted there’s zero evidence, and only backpedaled after the backlash. No artist should sign a forced apology note just to perform,” Schumer wrote. “Last I checked, we don’t run like those dictatorship-run spots, demanding stars trash America before letting them on stage.” Hochman shared Schumer’s statement on his Instagram story.
Photo: Screenshot
Hochman’s stand-up comedy tour has faced protests in several cities, and his scheduled show in New York City last week was canceled over safety concerns. He was also detained for several hours by Canadian border officials earlier this month after the pro-Palestinian advocacy group Hind Rajab Foundation filed a legal complaint against him, accusing the comedian of war crimes and “incitement to genocide.” The comedian was released and not charged, but his Canadian visa was revoked. His scheduled performance in Dallas, Texas, this week was canceled because of a winter storm in the region.
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As with Cain and Abel, the blood of our brother Alex Pretti is crying out from the ground
We don’t have to quote Pastor Niemoller anymore.
Because Alex Pretti could have been any of us. He could’ve been me, you, your neighbor, or your rabbi. In fact, many of my rabbinic colleagues and friends are on the streets of Minneapolis at this very moment. They are brave, patriotic and principled, and having known some of them for many years, I know that they, like Pretti, would protect the most vulnerable, even at unfathomable cost.
And what was Pretti doing? He was protesting peacefully, recording ICE agents with his iPhone. He tried to protect a woman the agents were attacking. He never drew the gun that he legally carried in its holster. He was beaten, and once on the ground, he was shot 10 times. His last words were “Are you OK?”
No longer are “they” coming only for ‘illegal’ immigrants, legal immigrants arriving at their court dates, permanent residents, Latinos, Asians, Somalians, veterans, and Black off-duty police officers.
“They” are now coming for us.
And they hate us. They lie about us, calling us assassins and terrorists. Their rage is palpable, and egged on by right-wing podcasts and right-wing media. We hate America, we are rioters, we are terrorists, we are Antifa. “Have you not learned? This is why we killed that lesbian bitch,” an ICE agent said to a protester two weeks ago, referring to Renee Good.
Even after Pretti’s murder, the Fox News headline was “Minnesota ICE official warns of unrest ‘like nothing I’ve ever seen before.’”
Other than the murder itself, the lies have been the most disturbing part of this spectacle; the immediate rush to lie about and vilify Alex Pretti, a VA nurse described by everyone who knew him as kind, caring, altruistic, and just the sort of person who would put himself in harm’s way to protect a stranger.
Stephen Miller called him a “would-be assassin” and a “terrorist.”
Commander Gregory Bovino (who parades around in a military ‘greatcoat’ that is popular among neo-Nazis online) said that Pretti planned to “massacre law enforcement” and had “violently resisted” before his men killed him, despite the video evidence flatly contradicting the latter claim.
DHS Secretary Kristi Noem said “this looks like a situation where an individual arrived at the scene to inflict maximum damage on individuals and to kill law enforcement.” Yet Pretti had his iPhone out to record what the ICE officers were doing.
There are two reasons these lies are the second-worst part of this episode.
First, it is morally repellent to drag Pretti and his family through the mud — and, if Renee Good’s family is any example, expose them to doxxing, death threats and defamation. Just imagine what they will say about me if they kill me at a protest. Or you. Or your rabbi.
Second, this isn’t one ICE agent. This is an entire apparatus of dehumanization and deceit. And though polling says only 20% of Americans believe that Pretti deserved to be shot, large swaths of America believe this extremist propaganda. We all have targets on our backs, painted by the government and their media apparatus.
There is a teaching in the Torah about this. It is, in fact, the first teaching in the Torah about the violence people do to one another: the story of Cain and Abel.
You know the myth, in all its brevity and primal truth. Cain and Abel are brothers. Both have offered sacrifices to God, though the text suggests Abel gives of his best while Cain does not. And so, Abel’s sacrifice is accepted and Cain’s is not. Vayichar l’kayin me’od; Cain is infuriated, filled with rage. God speaks reprovingly to Cain, telling him in essence that he has gotten what he deserved, that he must curb his desires more. But Cain does not accept this lesson and kills his brother in jealousy and rage.
As we all know, God asks Cain where Abel is — though of course, God already knows. Cain replies “I don’t know. Am I my brother’s keeper?”
But God responds, “What have you done? The voice of your brother’s blood cries out to me from the ground.”
Read closely and see. Cain is lying, of course; he knows exactly what he has done. He also denies responsibility; it’s not his job, he says, to take care of Abel. Ha-shomer achi anochi, he asks. Literally, am I my brother’s guard? His protector? Am I supposed to keep him safe?
Cain’s lies are like those of Miller, Bovino, Noem, and the rest. They are transparently preposterous. We are not God, but we can all watch the videotape; we can all inspect the freeze-frames of Pretti lying on the ground being beaten and then being shot.
And we can all easily learn that Pretti, like Abel, was innocent. He was not violently resisting, he posed no threat to these officers. He was no more a “terrorist” than I am — indeed, the word ‘terrorist’ has now become just a slur, drained of actual meaning, as if a non-violent activist is no different from the Bondi Beach terrorist or the Tree of Life terrorist. What a disgusting side-note, that the government has rendered this word meaningless.
Pretti’s blood cries out from the ground. And it is louder than the lies of the murderers.
One final epilogue. There is a midrash (Genesis Rabba 22:9) that blames God for Abel’s murder, because God could have prevented it but chose not to do so. When God says that Abel’s blood is crying out, the midrash says, it is crying out at God.
This is a bold midrash, accusing the Almighty of complicity in murder. But it is aimed at us, not God. None of us individually has the power to stop the next murder in Minneapolis, or Iran, or Gaza, or anywhere else, but collectively, we have the power to rise up against this injustice. We are made in the image of God, and with that similitude comes responsibility. We cannot turn away anymore. The blood cries out from the ground – to each and every one of us.
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