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For one group of friends separated by geography, a single Israel experience builds lifelong bonds
When Ashley Inbar of Portland, Maine, got married in a traditional Jewish ceremony at the Jamaican beach resort of Ocho Rios in early January, there were five very special names on the guest list.
Just half a decade earlier, they were all complete strangers.
But then they met in Israel on an unusual Birthright trip geared toward “older participants” — those ages 27 to 32 — and forged bonds that have only grown over the years. When that 2018 trip drew to a close, six of them resolved to hold annual in-person reunions, despite the vast geographical distances that separate them.
“Pretty much right when we got home, we started planning to meet up somewhere,” said Inbar, who heads fundraising for the Jewish Community Alliance of Southern Maine. “Our first trip was to Denver, then we traveled north to Redstone, Colorado, and stayed for the weekend. As soon as we end one trip, we start planning the next one. We see each other as often as we can, and we talk every day through group chats on Instagram.”
The tight bonds established by the six friends — Inbar, Tim Campbell, Max Staplin, Carly Herbst, Simon Muller and Jared Glassman — are part of the goal of Birthright Israel, which seeks to offer participants a “life-changing experience.”
While forging bonds between Diaspora Jews and Israel is the main purpose of the trips, which are given to participants at no cost to them, the 10-day Birthright experience also aims to strengthen both participants’ Jewish identity and their connection to fellow Jews (including Israelis). Countless long-lasting friendships and romances that started on Birthright have blossomed into marriages and Jewish families.
From Inbar’s group five years ago, the vast majority of participants are still in touch, she said.
“There were 38 of us, and our entire group got along really well,” Inbar said. “We were all at similar places in life, and all of us already had careers. Even today, 95% of us are still connected through social media.”
During the pandemic, when the six couldn’t meet up in person, they held biweekly Zoom chats where they’d talk for hours on end, playing games and discussing the ups and downs of their lives — including engagements, illnesses, deaths of family members and job promotions — as well as their shared memories of their Israel experience.
Ashley Inbar, third from right, with her Birthright friends celebrates her January 6, 2023, wedding on the beach in Ocho Rios, Jamaica. (Courtesy of Ashley Inbar)
The group also stayed in touch with the Israeli security guard, Gal, who escorted them on the trip. Gal video-chats with the group at times of conflict in Israel to share his experiences on the ground — and at other times to practice his English. “He just became an integral part of our collective experience, and I think it was as impactful for him as it was for us,” Inbar said.
Staplin, 36, a franchise attorney in Philadelphia, says the 2018 Birthright trip was one of the best experiences of his life. While the tours to the Dead Sea and Masada were amazing and the vibrancy of Tel Aviv unforgettable, he said, what remains with him most are the friendships he formed during those 10 days.
“We’d stay up till 1 a.m. every night talking. We knew then that we’d be friends for the rest of our lives,” Staplin said. “We decided to have a reunion every year. The first was in New Orleans, then the next year we visited Ashley in Maine. As we were figuring out where to do the next reunion, Ashley got engaged.”
Since 1999, more than 800,000 young Jews from 68 countries have visited Israel on free 10-day trips offered through Birthright, known in Hebrew as Taglit (Discovery). The vast majority were 18 to 26, but from mid-2018 until recently some 13,000 Jews in the 27 to 32 age bracket got to visit Israel as well, according to Noa Bauer, Birthright’s vice president of global marketing.
Now that the pandemic has ended and trips to Israel are back in full force, the organization is seeing its highest demand ever and can’t accommodate all would-be participants without raising additional funds.
“Given the limited spots, we went back to the original age group of 18 to 26,” Bauer said, “though we did allow those who missed out during Covid to participate this past summer as a last chance even if they aged out during the pandemic.”
On Inbar’s trip, the cohort of older Birthright participants included two married couples and several people with children, including her.
Visiting Israel at an older age made all the difference to Glassman, a 36-year-old firefighter in New Orleans. He cited “a much higher maturity level” as one of the advantages of doing Birthright when he did.
“At 18 or 19, I wouldn’t have appreciated it as much,” Glassman said. “Everyone on our group really wanted to be there. In my case, as a young adult, I became much closer to my local Jewish community. I’m a pretty active member of my temple, Touro Synagogue, so when Birthright opened that slot for my age group, it was almost like it was meant to be.”
Staplin said that what really stood out from his experience was the 360-degree view of Israeli life and history that the Birthright trip gave him – not something he could have gotten on a typical vacation.
Six participants of a 2018 Birthright Israel trip gather for their annual reunion in 2022 in New Orleans, Louisiana. (Courtesy of Ashley Inbar)
“The most meaningful part was gaining an understanding of what day-to-day life is like in a country with so much history but still in the middle of so much conflict in present times,” he said. “Watching the people of Tel Aviv just going about their regular work days despite the announcement of the largest rocket attacks in years. Taking a bus ride through the middle of nowhere to Masada and learning about what happened there centuries before America was discovered, and then seeing the daily struggles of the Bedouins the next day. Going from the Western Wall to the Mahane Yehuda Market. Eating schnitzel in a kibbutz and then eating fancy Thai-fusion food at a restaurant in Tel Aviv.”
Herbst was 32 when she went on Birthright. Until then, she said, her travel priorities were to visit countries other than Israel, even though her older brother had gone on Birthright and had a positive experience.
“I wasn’t that interested at the age when you’re supposed to go,” Herbst said. “But our group had a different perspective. We weren’t looking just to get a free trip. Even my Jewish identity was certainly different for me in my 30s than in my 20s.”
Now 37, Herbst works in business development at a New York City tech startup.
“For me, what’s special about Israel is the enduring history of religion, and not only of Judaism,” she said. “Even seeing how strong of a presence Islam and Christianity has there was really fascinating for me. There’s no other place in the world where you see that.”
Muller, 37, grew up outside Rochester, New York, and was supposed to go on Birthright in his mid-20s. But a month before his planned trip, Muller lost his job after the congressional office where he was working in Washington, D.C., suddenly closed. He never got around to rescheduling the Israel trip, and then he aged out.
Nearly six years later, he said, he got an email that Birthright was doing a pilot program for older Jews.
“It was just before my 32nd birthday, I didn’t know anybody else,” Muller recalled. “It was a shot in the dark. I had low expectations.”
The trip turned out to be one of the milestones in his life.
“I found people I really clicked with,” said Muller, now an international trade consultant in Seattle. “We all live in different places and have different interests, but Birthright really bonded us. It’s been a wonderful experience.”
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The post For one group of friends separated by geography, a single Israel experience builds lifelong bonds appeared first on Jewish Telegraphic Agency.
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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.”