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Dramatic stories of survival, endurance and escape reign as Ukrainian Jews mark 1 year of war
(JTA) — Most of the passengers on the flight from Chisinua, Moldova, to Tel Aviv earlier this month were subdued.
Some had just witnessed scene after scene of hardship on a tour of war-torn Ukraine organized by the International Fellowship of Christians and Jews. Others, about 90 in all, were Ukrainians in the process of moving permanently to Israel, talking in hushed tones about being on a plane for the first time, their uncertain future and the loved ones they left behind.
Alexei Shkurat was not subdued.
Bespectacled and bearded, he was standing in his seat, making wisecracks that caused the elderly woman in the seat next to him to guffaw despite herself.
“I like joking and communicating. It’s my life, why waste it being nervous?” Shkurat told the Jewish Telegraphic Agency in English.
“And anyway, I’m happy, happy, happy I will soon see my sons again,” he added.
Switching to Russian, Shkurat’s brow furrowed and his voice lowered when he recounted how, on Feb. 28, 2022, he had risked his life to transport his sons, 14 and 12, to the border with Poland with their mother and grandmother. From there they would move to Israel.
Shkurat could not go with them. The borders were closed for military-aged men, so Shkurat was forced to drive back to his hometown of Odessa. What happened next, as he recounts it, was harrowing: As he passed an empty field near Lviv, he encountered two Ukrainian soldiers, their AK-74 rifles trained on him. Shkurat raised his hands and was told to step out of his vehicle. He knew that if he made one false move, he would be shot.
The soldiers searched the car and interrogated him, asking him why he was traveling alone after curfew and even asking if he was a Russian spy. Shkurat later learned that 40 Russian paratroopers had recently landed in the area and had stolen ambulances and police cars. He answered the soldiers in Russian, which only raised their suspicions. Ukrainian is the dominant language in western Ukraine, but as a Jew from Odessa, Shkurat’s native tongue is Russian.
“I was terrified. I know that they were only doing their job, but the situation was so scary. Everything I ever knew in life had changed,” he said.
Catch up on all of JTA’s coverage of the Ukraine War here.
By a considerable stroke of luck, Shkurat, a street artist, was able to prove his identity by showing the soldiers his Instagram page, filled with posts of his art in locations all over Odessa.
But according to Shkurat, the story was far from over. The next chapter of his life was far more hair-raising, he said. Pressed on the details, Shkurat grinned and switched back to English.
“I can’t tell you a thing,” he said. “I want to sell the story to Netflix.”
Whatever cinematic experience Shkurat might have had, his fellow passengers surely had made-for-the-movies stories of their own. They had made it through nearly a year of war before deciding to move to Israel, making them the latest of 5,000 new immigrants from Ukraine facilitated by the International Fellowship of Christians and Jews, working in collaboration with Israeli government entities such as Nativ and the Ministry of Aliyah and Integration. Approximately 15,000 Ukrainians in total have immigrated, or made aliyah, in the last year.
Ukrainian Jewish refugees who fled the war in their country wait on a bus upon arrival at Ben Gurion Airport near Tel Aviv, on an airlift of medically needy passengers made possible by the International Fellowship of Christians and Jews, Dec. 22, 2022. (Gil Cohen-Magen/AFP via Getty Images)
According to the group’s vice president, Gidi Schmerling, if there is any upside to the war from Israel’s perspective, it’s that many middle-class Ukrainians — doctors, engineers and high-tech employees — who wouldn’t have otherwise made aliyah are now choosing to do so.
But IFCJ’s mandate also includes the Jews who stayed behind. Since Russian tanks first rumbled across the border a year ago, the group has raised more than $30 million dollars — primarily from evangelical Christians from North America and Korea — for the main Jewish organizations in Ukraine including the American Jewish Joint Distribution Committee, or JDC, and Chabad. (Both groups do extensive fundraising of their own.) This week, the anniversary of Russia’s invasion, it announced another $4 million in planned spending.
In Odessa, more than 7,000 people currently receive aid from IFJC via local Jewish groups. The Jewish community, once 50,000 strong, now stands at 20,000, according to the city’s chief rabbi, Avraham Wolff. Seven thousand food packages are distributed every month in Chabad centers. Many of the beneficiaries are older — among them some 187 Holocaust survivors — but not all. Several hundred are people who were displaced from surrounding cities, such as Mykolaiv, which was hit much harder by Russian shells, and some are the so-called new poor, those for whom the war has plunged into poverty from loss of income and rising inflation.
Ala Yakov Livne, an 86-year-old widow, is one of many who lined up recently to receive a box with oil, flour and other basic necessities. For Livne, the part that stings most about the last year is the sense of betrayal.
“[The Russians] were our neighbors. Many of them were our friends,” she said.
“Times have changed but some things never change,” Livne went on. “Back then, we were under occupation under the Nazis, back then, they tried to kill us, and now again, we are under occupation and they are trying to destroy us.”
Yelena Kuklova survived the Holocaust by being hidden by non-Jewish neighbors. “We started our lives in war and we’re finishing them in war,” she said. (Deborah Danan)
It was a refrain that would be repeated several times over the ensuing days. In a trembling voice, 85-year-old Holocaust survivor Yelena Kuklova, who as a child was hidden by her non-Jewish neighbors in a suitcase in a closet, echoed the sentiment.
“They killed us then because we were Jews. They are killing us today because we are Ukrainian,” she said, a slow cascade of tears spilling over her cheekbones. “We started our lives in war and we’re finishing them in war.”
And so it was in battle-scarred Mykolaiv, 140 kilometers northeast of Odessa. “What the Germans never managed to do, the Russians did,” said Eli Ben Mendel Hopstein, standing in front of his building, pockmarked from the shrapnel of a Russian missile.
Inside his home, Hopstein rifled through decades-old photos of himself in the navy. “I know danger,” he said, “and I don’t feel it now.” He describes himself as a proud Jew. “First, I am a Jew, then I am Ukrainian, and I never once hid this from anyone.”
Mykolaiv, pro-Russia before the war and now a vanguard of the south, has become a source of pride for its residents because of Russia’s failure to occupy it. Even before the war, Mykolaiv was a desperately poor city. But now, following eight months of daily explosions, destruction is everywhere and the city’s critical infrastructure has been badly damaged.
Damaged buildings are a common sight in Mykolaiv, which Russian troops pummeled during the first year of the war. So are people lining up for potable water. (Deborah Danan)
Like Odessa, the city has no electricity for up to 22 hours a day. For more than half a year, large swaths of the city had no water at all. Today, residents can turn on the tap and get a murky brown liquid known as technical water, but it is far from potable. For drinking and cooking, they are forced to collect safe water in plastic gallon bottles at water stations all over the city, many of which were installed by the Israeli nonprofit IsraAID.
Scenes of people placing buckets outside their houses in the hope of catching rainwater became ubiquitous in Mykolaiv. For its Jewish contingent, Chabad provides truckloads of bottled water. Hopstein credits the IFCJ and Chabad for keeping him alive.
“If it wasn’t for their help, I would have nothing,” he said.
Across the road from Hopstein, 82-year-old Galina Petrovna Mironenko, who is not Jewish, is not so lucky. A Russian S300 missile that appeared to be targeting a nearby university missed its mark and struck Mironenko’s home, decimating her every earthly possession. Mironenko said the only help she gets is a weekly loaf of bread from the government. Standing in her charred kitchen, her red and blue checkered headscarf offering the only color, Mironenko’s expression is almost childlike — a jarring contrast to the words she utters.
Galina Petrovna Mironenko stands in the wreckage of her home in Mykolaiv, destroyed by a Russian missile. Her Jewish neighbor credits aid from Jewish organizations for keeping him alive. (Deborah Danan)
“I have died three times in my life,” she said. “Once when my father died, again when my son died and a third time after the 20 minutes it took for my house to burn.”
Back in Odessa, the sun has set and the city is cloaked in darkness, a cue that soon it will be time to head indoors for the nightly curfew. But first, a visit to the Orlikovsky family who are packing their suitcases ahead of their emigration the next day. On the couch in the tiny living room sit four generations of Jews: Alina; her daughter, Marina; her grandson Andrey; and Andrey’s wife and daughter Viktoria and Sofiya.
Andrey recalls Feb. 24, 2022. “I couldn’t believe my eyes and ears. I heard a terrible blast and grabbed my daughter and told my wife, ‘Let’s get out!’ I thought my house was going to collapse like a doll’s house.”
Participants of the Hanukkah celebration in Kharkiv, northeastern Ukraine, received a hot meal — part of the sustained aid that Jewish communities have distributed throughout the war there, Dec. 18, 2022. (Vyacheslav Madiyevskyi / Ukrinform/Future Publishing via Getty Images)
But it would take nearly a year to finally make the move, because of Viktoria’s late mother who was sick and because, in Andrey’s words, “you get used to the bombs.”
“We live without power, we live without heating, very often there is no hot water. We are living like insects,” Alina said. “My children told me, mama, we need to go.”
When the family finished speaking, the electricity came back and the lights turned on. Sofiya, 5 years old, laughed into her mother’s chest.
The first anniversary of the war marks two weeks since Alexei Shkurat and the other 89 new arrivals were greeted on the tarmac of Ben Gurion Airport by Israel’s new immigration minister, Ofir Sofer. Shkurat is on the lookout for a permanent home in a place where he can sell his art.
“I am getting to know the country and looking for new friends,” he said. “I want to do a lot of beautiful and bright projects. I want to draw a lot,” he said.
He deeply misses Odessa, which he called an amazing city, but being reunited with his sons has soothed the pain.
“Meeting with my children was the best event of the last year,” he said.
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Soccer helped my family survive the Nazis. Our community has lost sight of that story’s meaning
A new exhibit at the Holocaust Museum LA should be telling my great-grandfather’s story as part of its study of soccer, Jews and the Holocaust. But it won’t, because the museum failed to internalize the great moral lesson that my family learned from surviving the Holocaust: to never value the safety of one group over that of others.
The museum describes The Beautiful Game: The Untold Story, which opened this week, as an exploration of “the deep and often overlooked relationship between Jewish life and the global game.” It could have been curated specifically to tell my family’s story, because it was soccer that saved them from the Holocaust.
Pavel Mahrer, my great-grandfather, was a Jewish professional soccer player for Czechoslovakia. He played for teams in Teplitz and Prague, as well as at the 1924 Olympics. In the 1920s and 1930s he moved across the Atlantic to play for the Brooklyn Wanderers and for a Jewish team, New York Hakoah. His son Jerry was born during that time; eventually, the fact that Jerry held American citizenship would save much of the Mahrer family from the Holocaust.
During the Shoah, Pavel became the star player in the league at the Theresienstadt ghetto. He once wrote to his wife, as they were imprisoned separately, “tell our boys that I played soccer again and even played well and was successful.” Soccer brought him joy during those years of total despair. He avoided transport to Auschwitz — possibly because he was a famous athlete — and eventually reunited with his family in New York after the war.
The Holocaust Museum LA exhibit doesn’t tell that story, but it wanted to. My family pulled out of the exhibit because we didn’t want our story told by an institution that we think has faltered in holding true to the back half of its stated mission of inspiring “a more dignified and humane world.”
‘Never Again’ for whom?
We had already been in contact with the exhibit curators when the museum became entangled in a public relations crisis last fall over an Instagram carousel featuring a cover image of six interlocking arms of different colors with the text: “’Never Again’ can’t only mean never again for Jews.”
Further slides added: “Jews must not let the trauma of our past silence our conscience” and “To be Jewish is to remember and act.”
Finally, I thought, a Jewish institution that will stand against genocide and violence, full stop. Not just genocide and violence against Jews.
Over the past few years, I’d watched the Jewish institutions I grew up respecting make excuses for or ignore Israel’s assault on Gaza. At best, they remained silent as Israel killed innocent civilians in the name of the Jewish people. At worst, they supported Israel’s actions unreservedly.
But here was one Jewish institution that was sending the right, albeit subtle, message.
My family agreed that this was a museum that was teaching the history and lessons of the Holocaust in a way we wanted to support. We had told the museum of our interest in loaning them Pavel’s 1924 Paris Olympics jersey and photos of his soccer career for the exhibit, and grew more excited for the collaboration.
But not everyone had the same reaction to the post that we did. Comments flooded the museum’s page claiming that the phrase “Never Again” was only for Jews, and criticizing the museum for generalizing the Holocaust — as if Jews have a monopoly on being victims of genocide. I figured the museum must have been prepared for some backlash, but had decided it was worth upsetting some to show that they cared for all.
I was wrong.
The museum deleted the post, then issued an apology, calling the post “easily open to misinterpretation by some to be a political statement reflecting the ongoing situation in the Middle East.” To us, it read as if they were apologizing for giving the appearance of caring about Palestinian lives. The apology post drew outrage as well — although not in the comments section, which was disabled.
A humane world for everyone
The apology felt like cowardice to me and my family. So we asked to meet with Beth Kean, the museum’s CEO. By the time we connected with her over Zoom in October, the apology post had been deleted as well. We wanted to understand what was behind their decision to post, remove, apologize and then act like none of it ever happened.
After the meeting, we understood that the museum hadn’t expected the response to the first post; some museum staff, horrifyingly, had received death threats. But we didn’t get a good answer as to how capitulating to hateful comments and violent threats aligned with the stated mission of the museum. We were promised an updated public statement that would specifically state the museum’s humanitarian goals; but if one was ever published, I didn’t see it.
We decided that we no longer felt comfortable lending the material that told Pavel’s story to the museum. I take pride in being the descendant of Holocaust survivors, and I’m especially proud that my family has always told our story in a way that emphasizes that the safety of all peoples is and has always been intertwined. I don’t think Pavel would be proud to see his story used to help suggest in any way that Jewish lives should be valued over others.
I didn’t expect the museum to change its mind because of a thirty minute Zoom call with my family, but its willingness to, in my eyes, bend on its principles left me disheartened. If we can’t take stories of Jewish suffering and strength — like that of my family — and apply their lessons to the suffering that is occurring to this day around the world, what is the point of telling them?
I’m a soccer player myself. Every time I score a goal or make a tackle I think of how I wouldn’t be alive if it wasn’t for this beautiful game. I feel a kinship with other players, other soccer fans, because we share that love of the game. It brings us joy, it brings us hope.
I find my family’s story compelling not just because it is a story about Jews during the Holocaust, but because it is a story about survival — a story about luck, talent and both good and terrible timing. The drive to survive, and the need to ensure others’ survival, should be universal. If the message that our Jewish institutions send is that Jewish survival matters most, who is that message for? How can we expect the rest of the world to care about our safety if we don’t do anything to prove that we care about theirs?
Dani Mahrer is a former Jewish educator who now works in renewable energy in Los Angeles.
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Eliya Smith says plot is what happens when you’re busy doing nothing
Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.
“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.
“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”
Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)
The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.
“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”
Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.
“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”
In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.
Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.
The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.
“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.
“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.
About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.
Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.
We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.
“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”
She has yet to write her Texas play — or her New York one.
“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.) “Until I was like 23 I was like I can only write about being 17.”
Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.
It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.
“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”
She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.
“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”
Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.
While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.
The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.
“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”
Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.
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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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