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Fighting food allergies becomes another ritual at synagogues, schools and camps
This article was produced as part of JTA’s Teen Journalism Fellowship, a program that works with Jewish teens around the world to report on issues that affect their lives.
(JTA) — No challah on Shabbat for those with celiac disease or wheat allergies. No cheesecake for Shavuot for those with dairy allergies. No mishloach manot gift packages on Purim for kids with severe allergies to the treats inside.
Synagogues and other Jewish organizations are seeing a rise in the number of children and teens who suffer from food allergies, and are adjusting to make sure that no one is endangered or feels left out – from nut-free policies to separate gluten-free kitchens.
For some, however, such accommodations aren’t enough to make them feel part of the mainstream.
“I try not to let it get the best of me, but in the back of my mind I’m like ‘wow, I really wish I could try what everyone else is trying,’” said Micah Pierandri, 17, from Tulsa, Oklahoma, who often feels disconnected from others during community events involving food.
More children and teens are being diagnosed with food allergies than ever. In 2007, only about 4% of children in the United States under 18 reported food allergies, but last year the number more than doubled. A 2020 review of hospital admissions data showed a global increase in hospitalizations for anaphylaxis, a severe and potentially life threatening allergic reaction. One study found that 37% of children in an Orthodox Jewish community had food allergies.
Food allergies can have a significant impact on a person’s mental health. Up to 40% of parents of children with allergies said that they would associate the word “isolating” with their child’s allergy, according to a study by Allergy UK. And while many synagogues are taking steps to become more allergy friendly, holidays and religious events involvinging food can be a struggle for many children and teens with food allergies.
“I’m that allergy kid that has to sit out or bring their own dessert or their own food to events,” said Pierandri.
Pierandri, who has an airborne allergy to peanuts and severe allergies to pecans, walnuts, soy and eggs, often brings her own food to synagogue events. This can make her feel separated from the rest of the Jewish community during the holidays, even if her food is similar to her peers.
Tu Bishvat and Yom Ha’atzmaut, Israeli Independence Day, are especially difficult to celebrate because of the foods that are involved. On Tu Bishvat, the springtime New Year of the Trees, it’s customary for people to eat nuts and try fruits that they haven’t tasted before. For Pierandri, who has oral allergy syndrome, eating most fruits could cause an allergic reaction. Many Israeli dishes contain sesame or nuts, and her mild sesame allergy and severe nut allergies mean that she struggles to find foods that are safe for her to eat on Yom Ha’atzmaut, forcing her to choose between bringing her own food or eating before she goes.
By listing the ingredients in all food dishes at events, Beth El Temple Center in Belmont, Massachusetts makes it easier for people with food allergies to be included. Around 10% of students at their religious school have allergies. Though the number hasn’t changed much over the past few years, it is high enough that all teachers are notified about students’ allergies, said Joan Perlman, its director of education.
“It’s important to accommodate people with food allergies because it aligns with our core value of being an inclusive community,” said Debbie Ezrin, executive director of Temple Beth Ami in Rockville, Maryland. To her, inclusivity means making sure that everyone feels like they belong. Their congregation is a nut-free facility and works to accommodate people with food allergies during any event involving food.
Josephine Schizer (left) at dinner with a friend. (Courtesy)
“While the synagogue adheres to traditional Jewish dietary laws, we always ask people to share their dietary needs and do our best to accommodate them,” said Rabbi Daniel Kaiman of Congregation B’nai Emunah, the synagogue that Pierandri attends.
She also feels like her food allergies have stunted her BBYO experience. “Part of me feels like it’s not really having food allergies, it’s more like people not being cautious,” Pierandri said. She’s been to multiple chapter and regional events where there have been peanuts even though people are aware that she has an airborne allergy.
“This is one of the areas where we really try to make sure that we’re accommodating our teens and I think it’s a small step we can take towards creating a supportive, inclusive, welcoming environment,” said Drew Fidler, director of BBYO’s Center for Adolescent Wellness.
Like many other organizations, BBYO has seen an increase in the number of teens with allergies over the past decade. All of BBYO’s conventions are peanut and tree nut-free in order to accommodate teens with nut allergies, and the organization also offers vegetarian, vegan, gluten-free and dairy-free meals by request.
“They just want to participate and feel normal and be a part of what’s going on,” she said about members who might feel excluded because of their allergies. At its international convention and summer programs, BBYO has a dedicated area for special meals so that teens with dietary restrictions are able to eat during meals.
Many Jewish summer camps are taking similar steps towards inclusion. “We always tell families that food should never be a reason that campers cannot be at camp or participate in Jewish life,” said Rabbi Ami Hersh, director of Ramah Day Camp in Nyack, New York.
Around 10% of the 800 campers that attend each session have food allergies, a larger percentage than in past years. The camp has a dietary specialist who works with each family to find alternative meals for campers. It’s important that the alternative meals closely mirror what the other campers are eating “so that no one’s feeling left out or excluded based on food needs,” Hersh said.
“I think that sometimes food needs and allergies are misunderstood as something that people are just being difficult about,” he said. “No one wakes up in the morning and says ‘I really wish I had a food allergy.’”
After noticing an increasing number of campers with celiac disease, NJY Camps, an organization that runs five Jewish summer camps in eastern Pennsylvania, opened a dedicated gluten-free kitchen in 2011.
Taking care of children with food allergies costs US families over $25 billion each year. When parents have to provide food for their children, it can be expensive and isolate the child even further. In a study by Dalhousie Medical School, all 56 gluten-free products tested were more expensive when compared to their regular counterparts.
At NJY Camps, the camp charges the same for the gluten-free meal plan as for the regular meal plan. “We don’t charge families extra despite the additional cost, it is simply a courtesy provided to those who need it,” said Carrie Youngs, director of Camp Nah-Jee-Wah, its camp for younger kids. Within the last five years, they’ve had as few as 30 and as many as 60 gluten-free campers register for each session.
The gluten-free kitchen has separate staff, equipment and serving area to avoid cross contamination. Like Ramah Day Camp, NJY Camps try to make the gluten-free meals match the regular meals being served that day so that campers with dietary restrictions won’t feel left out.
“Because we’re a kosher camp, some allergies are just a good fit,” she said. The camp doesn’t have to make accommodations for allergies like shellfish because shellfish aren’t kosher. Camp Nah-Jee-Wah is also completely peanut free in order to accommodate campers who have airborne peanut allergies.
Before arriving at camp, families are able to meet with an allergy liaison who ensures that all of their needs are met. “We just feel that accommodating campers and giving them the most incredible camp experience is important for their upbringing,” Youngs said.
Eating away from home can be scary for people with food allergies, especially when those allergies are life-threatening. “My house is the space where I feel most comfortable when it comes to food,” said Josephine Schizer, 21, a sophomore at Harvard University. She’s allergic to eggs, dairy, sesame seeds, chickpeas, kiwi, lentils and peas, but thanks to her school’s Hillel, she’s been able to eat safely while she’s away from home. She’s developed a relationship with the Hillel’s dining hall staff and made them aware of her food allergies. They’ll often make special meals for her so that she’s able to eat.
Her allergies don’t usually make eating a problem during Jewish holidays, but on Passover, a holiday that imposes additional dietary restrictions, she struggles to find nutritious meals because there are fewer options. “Many of the options that I could normally eat are out of the question during Passover because of the holiday or have egg in them because flour gets replaced with egg,” Schizer said. Nearly everyone in her family has allergies, making it easier for her to celebrate Jewish holidays at home.
“I think it’s harder when I’m in places that aren’t my own home,” she said. “It’s harder, but it’s still doable.”
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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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