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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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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”