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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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Jon Stewart, Here Is Your Chance to Be a Mensch
Jon Stewart on “The Daily Show” on April 8, 2024. Photo: Screenshot
There is no doubt that Jon Stewart has great comedic ability and the gift of gab. In a sneak attack many years ago, he had a mic drop moment where he destroyed Tucker Carlson’s show CrossFire, telling him to stop hurting America. At that time, all Carlson did was have an aggressive political debate show — he wasn’t spewing Jew-hatred and conspiracy theories.
Stewart, who must know something about antisemitism because he felt a need to change his name from Leibowitz to Stewart, raised The Daily Show to great heights and came out of retirement ostensibly to try to make sure that President Trump is lampooned.
I know Jon Stewart is a person who cares about justice, because he fought very hard for the rights of 9/11 firefighters. The passion Stewart showed and his ability to speak truth to power was unrivaled. Some even thought he even had the potential to be a president one day. If Ukraine can have a president that was a comedian, why not America?
Of course, Stewart would be good if his focus was justice. It isn’t always. Sometimes, it’s only about haranguing Trump, no matter what. How about a few shows against antisemitism. He took on Tucker Carlson once. Why not do it again? While Tucker’s no longer wearing a bowtie, he’s saying he was attacked by a demon and Candace Owens is making claims about time machines. What about a one-hour Netflix or Apple TV+ show lambasting them both. It would be monumental.
But Stewart is hoping that Carlson and Owens continue to wreak havoc, and benefit the Democratic Party. And with only a few more years of Trump, those who want to vilify him want to get their last shots in and may not want to divert to something else. I believe that Stewart is against antisemitism. But he should call it out on all sides, and not mock Israel, a country that faced genocidal terrorists who would kill every Jew if they had the weapons to do so.
Jon Stewart is 63 and mentally sharp. He is capable of much better jokes than about physical appearance, which he recently used to attack Sid Rosenberg. Stewart would be better off criticizing Rosenberg’s positions, or perhaps that’s a bit more difficult these days.
If Stewart really wants to advance justice, he could start by attacking antisemites and racists, on both the right and left. He has the rare talent to do it in an impressive way.
Jon Stewart was the greatest mensch when he fought for firefighters. This is his time to do it again.
The author is a writer based in New York.
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Fatah Glorified Munich Olympics Massacre Ahead of 2026 Winter Olympics
An image of one of the Palestinian terrorists who took part in the 1972 Munich Olympics massacre. Photo: Wikimedia Commons.
While the world was preparing to celebrate the Olympic Games in Italy, Fatah celebrated Olympic blood in Munich.
Just two weeks before the opening of this year’s Winter Olympics, Fatah — the Palestinian Authority (PA)’s ruling party — chose to revive and celebrate the most infamous act of Olympic terrorism in history: the 1972 Munich Olympics massacre, in which 11 Israeli athletes and coaches were murdered.
On its Facebook page, Fatah’s Commission of Information and Culture posted a segment from its Awdah TV channel, glorifying the massacre as “a surprise Israel had not experienced before” and recounting how terrorists, whom she called “self-sacrificing fighters,” infiltrated the Olympic Village, seized Israeli hostages, and issued demands.
Responsibility for the murders was subtly shifted away from the terrorists, while the operation was presented as daring and historic:
Fatah-run Awdah TV host:“In September 1972, Israel was about to receive a surprise it had not experienced before. Eight self-sacrificing fighters [i.e., terrorists] invaded the quarters of the Israeli sports delegation that was participating in the Olympic Games in the German city of Munich. They captured nine Israelis and demanded to release hundreds of Palestinian prisoners [i.e., terrorists] who were in the Israeli prisons in exchange for the release of the hostages. Israel refused to negotiate, and the hostages were killed.”
[Fatah Commission of Information and Culture, Facebook page, Jan. 22, 2026]
On the same day, Fatah’s Commission of Information and Culture also lionized the architect of the Munich massacre, Ali Hassan Salameh, as “The Red Prince.”
Fatah described him as a brilliant “security mind” and strategic genius whose operations allegedly “embarrassed Israel:”
Text on screen: “The Red Prince, the commander whom the Mossad pursued for years. Ali Hassan Salameh was not a shadowy figure, but rather a security mind who created a secret battle …
He joined Fatah in the mid-1960s and was among its first security personnel. He quickly stood out for his organizational wisdom and ability, and sensitive missions were entrusted to him … He led the security activity of the revolution outside Palestine and built a complex defense network that embarrassed Israel. He became a central target of the Mossad, and his name topped the assassination lists.
[Then Israeli Prime Minister] Golda Meir gave the order to eliminate him, and the pursuit after him crossed continents … On Jan. 22, 1979, the Mossad assassinated him in Beirut using a car bomb. His assassination did not put an end to his presence, rather it established his status as one of the most dangerous minds of the revolution. Ali Hassan Salameh, a security commander and one of the symbols of the hidden strugglewith the occupation.” [emphasis added]
Posted text:“The Red Prince Ali Hassan Salameh, the commander whom the Mossad pursued for years”
[Fatah Commission of Information and Culture, Facebook page, Jan. 22, 2026]
Even more than 54 years later, the PA’s ruling party still treats the Munich Olympics massacre as a legacy to be celebrated.
By deliberately highlighting this massacre just before the Milano Winter Olympics, Fatah yet again shows how it is proud to promote terrorists and terrorism.
Ephraim D. Tepler is a researcher at Palestinian Media Watch (PMW), where a version of this article first appeared.
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How NPR Whitewashes the Palestinian Authority’s ‘Pay-for-Slay’ Program
Stuart and Robbi Force (left), parents of Taylor Force, with Reps. Doug Lamborn and Lee Zeldin. Taylor Force was killed by a Palestinian terrorist while visiting Israel. Photo: Algemeiner.
Even for NPR, the latest segment on its popular “All Things Considered” program crossed the line.
Headlined “Palestinian Authority tries to reform, but one measure is sparking a backlash,” the segment focused on the Palestinian Authority (PA)’s controversial “pay-for-slay” program, where imprisoned Palestinian terrorists and their families, or the families of Palestinians who were killed while committing acts of terrorism or trying to harm Israeli security forces, receive financial stipends.
However, instead of taking a critical look at “pay-for-slay,” NPR provided cover for the insidious PA program.
To begin, NPR immediately whitewashed the program in the subheading, referring to it merely as “payments to families whose relatives are killed or jailed by Israel.”
There was zero mention of the fact that this program incentivizes violence and terrorism by paying out more to families of terrorists than the PA’s regular social welfare pay-outs. In addition, there was no mention that these payments are based on the length of prison sentences rather than actual financial need.
And that was just the tip of the iceberg.
No, @NPR, this isn’t the reason the PA program is “controversial.”
The recipients of the cash are families of TERRORISTS – not Palestinians who committed minor crimes or were innocently caught in the crossfire, but bona fide terrorists whom you appear to be whitewashing. pic.twitter.com/WH0q1AkOBj
— HonestReporting (@HonestReporting) February 10, 2026
Throughout the story, NPR’s Emily Feng downplayed the vile nature of “pay-for-slay.”
“Pay-for-slay” wasn’t presented as a dangerous incentive for the murder of innocent Israelis, which was the target of American legislation (The Taylor Force Act).
Instead, the program was merely characterized as “controversial.” But using public funds to incentivize terrorism is something much more grave and consequential.
Along with this false characterization, NPR also portrayed the truth about the program as Israeli criticisms that “the PA pushes back against.”
It would be hard to find a more watered-down depiction of “pay-for-slay.”
Further on in the segment, Feng interviewed a Palestinian woman named Inaan who was receiving a monthly payment of 1,400 shekels ($440) since her son had been killed by the IDF.
This doesn’t seem like a lot of money. However, Feng failed to inform her audience that this is only the payment for family members of those killed by Israeli security forces (after a one-time payment of 6,000 shekels).
Terrorists in Israeli prisons can receive up to 12,000 shekels (roughly $3,900) per month.
This presentation of the monthly payments being inconsequential and of limited value is further emphasized by Feng’s next interviewee, Qadura Fares, who is quoted as saying, “The money — it’s mean [sic] nothing for those have believed [sic] that this occupation should be ended and to fight the occupation.”
Fares is the former head of the PA’s prisoners’ affairs commission. In passing, NPR also informed its audience that Fares served time in Israeli prison for “trying to kill Israeli soldiers.”
That’s right, NPR platformed a convicted terrorist.
Perhaps the words of someone who used to target Israelis should be taken with a grain of salt when discussing payments for imprisoned terrorists.
Fares resigned from his position after PA President Mahmoud Abbas announced an end to the “pay-for-slay” policy, stating that the only recipients would now be those who require economic assistance. Many groups, including Palestinian Media Watch (PMW), have provided documentation that the PA is still continuing “pay-for-slay” — though the PA is trying to hide the payments.
Along with Fares, Feng interviewed a couple of other Palestinians who were upset with this alleged reform and complained that the new system is not working properly.
What Feng failed to inform her audience is that this “reform” is alleged by analysts like PMW to be a ruse, with Abbas promising a Palestinian audience that imprisoned terrorists and the families of “martyrs” would continue to receive funds, and that the “reform” is more of a restructuring than an outright end to “pay-for-slay.”
Nearly a year after this “reform” was announced, many beneficiaries were still reportedly receiving their payments.
Perhaps the cherry on top is when Feng referred to the alleged reform as “trying to please outside powers.” As if the program didn’t require serious reform, but rather that the PA capitulated to foreign interference.
A whitewash indeed.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.