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For the Republican Jews whose Vegas confab kicked off the 2024 primary, Trump was always present
LAS VEGAS (JTA) — For Republican Jews looking for an alternative to Donald Trump in 2024’s presidential race, Ted Cruz presented a tantalizing choice on Saturday — at least for a few minutes.
“When I arrived in the Senate 10 years ago, I set a goal to be the leading defender of Israel in the United States,” the Texas senator said during his chance to address the Republican Jewish Coalition conference last weekend.
The crowd packed into a ballroom deep in the gold lame reaches of the Venetian casino complex lapped it up in what some of them refer to as the “kosher cattle call,” auditions for some of the GOP’s biggest campaign donors.
Cruz applied his folksy bellow to phrases already rendered stale by the speakers who preceded him, making them seem fresh. “Nancy Pelosi is out of a job,” he said of the Democratic speaker of the U.S. House of Representatives, eliciting more cheers from a crowd relishing a fragile majority in the House, one of few GOP wins during midterm elections earlier this month.
But the onetime constitutional lawyer lost the crowd when he asked everyone to take out their cell phones and text a number associated with his podcast, “Verdict.” As the murmurs graduated into grumbles it became clear: About a third of the 800 or so people in the room were Shabbat-observant Jews, taking texting off the table for them.
Cruz never really recovered his rapport with the audience, which included deep-pocketed donors looking to pick a candidate and rally support for him or her. That made his speech an extreme example of the trajectory of just about every address by prospective presidential hopefuls at the RJC conference — excitement tempered by two nagging questions: Does this candidate have what it takes to beat Trump, whose obsession with litigating the 2020 election helped fuel this year’s electoral losses? And is Trump inevitable whoever challenges him?
The former president was at the center of every presentation and of conversations in the corridors during breaks. On the stage, some folks named him, some did not, but — except for Trump himself during a video address from his Florida home — few did so enthusiastically.
Chris Christie, the former New Jersey governor who was the first of Trump’s primary opponents in 2016 to drop out and endorse him, and then among the first to repudiate him during his presidency, repeated the admonition he made a year ago to move beyond Trump.
Say his name, Christie urged the crowd. “It is time to stop whispering,” he said. “It is time to stop doing the knowing nod, the ‘we can’t talk.’ It’s time to stop being afraid of any one person. It is time to stand up for the principles and the beliefs that we have founded this party on, this country on.” He got big cheers.
Trump was the first candidate to announce for 2024, last week, and so far the only one. But others among the half dozen or so likelys in Las Vegas were clearly signaling a run. Nikki Haley, the former ambassador to the United Nations who is a star among right-wing pro-Israel groups for her successes at the United Nations in marginalizing the Palestinians, all but told the group she was ready.
“A lot of people have asked if I’m going to run for president,” Haley said. “Now that the midterms are over I’ll look at it in a serious way and I’ll have more to say soon.”
The biggest cheers were reserved for Ron DeSantis, the Florida governor who was a bright spot for Republicans on Nov. 8, winning reelection in a landslide. DeSantis listed his pro-Israel bona fides (boycotting Israel boycotters) and his culture wars (taking on Disney after the company protested his “Parents Rights in Education” bill, known among its critics as “Don’t Say Gay”).
The crowd loved it. “The state of Florida is where woke goes to die!” he said to ecstatic cheers.
DeSantis did not once mention Trump; the former president has already targeted him saying whatever success he has he owes to Trump’s endorsement of his 2018 gubernatorial bid and dubbing him “Ron DeSanctimonious.’
Getting the nickname was a clear sign that DeSantis was a formidable opponent, said Fred Zeidman, an RJC board member who has yet to endorse a candidate. “It’s a badge of honor, in that Trump has identified you as a legitimate contender for the presidency,” he said in an interview.
Yet even DeSantis was not a clear Trump successor. The RJC usually heads into campaign-year conferences with a clear idea of which of its board members back which candidates, and then relays the word to Jewish Republicans whom to contact to join a prospective campaign.
That didn’t happen this year, and Trump was the reason. Jewish Republicans are still “shopping” for candidates, Ari Fleischer, the former George W. Bush administration spokesman who is an RJC board member and who also has not endorsed a candidate, said in a gaggle with reporters.
Trump was the elephant in the RJC room, Fleischer said, using the Hebrew word for the animal.
“Donald Trump is the pil in the room. There’s no question about it,” Fleischer said right after Trump spoke. “And he is a former president. He has tremendous strength and you could hear it and feel it with this group, particularly on policy, particularly on the substantive issues that he was able to accomplish in the Middle East. It resonates with many people.”
Trump had earned cheers during his speech as he reviewed the hard-right turn his administration took on Israel policy, moving the embassy to Jerusalem and quitting the Iran nuclear deal, among other measures.
“There are other people, they’re going to look at his style and look at things he’s said, and question if he is too hot to handle,” Fleischer continued.
Trump in his talk at first stuck to a forward-looking script but toward the end of it could not resist repeating his lies about winning the 2020 election. Asked by RJC chairman Norm Coleman how he would expand the Abraham Accords, the normalization agreements he brokered between Israel and four Arab countries, should he be reelected, Trump instead bemoaned the election.
“Well, we had a very disgraceful election,” he said. “We got many millions of votes more than we had in 2016, as you all know, and the result was a disgrace in my opinion, absolute sham and a disgrace.”
It was one of many only-in-Vegas moments at an event that brings together disparate groups, including young secular Jews from university campuses gawking at the glitter, Orthodox Jews lurking at elevators waiting for someone else to push the button so they can get to their rooms, and Christian politicos and their staffers encountering an intensely Jewish environment for the first time.
“Shabbat starts on Friday night and ends on Saturday night,” one young staffer explained to another as they contemplated a “Shabbat Toilet” sign taped to a urinal. “But doesn’t it flush automatically anyway?” asked the other.
South Carolina Sen. Tim Scott, another presumed 2020 hopeful, was the only speaker to decry violent attacks on Jews.
“When I think about my brothers and sisters in the Jewish community, in New York City being attacked on the streets of New York, it is time to rise up on behalf of those citizens,” he said. “Rise up against those folks spreading antisemitism, hate and racism.” He was also the only speaker to praise a Democrat, Nevada Sen. Jacky Rosen, with whom he has launched an African-American Jewish coalition in the Senate.
A couple of contenders who have separated themselves from Trump said his name out loud — but with disdain.
“Trump was saying that we’d be winning so much we’d get tired of winning,” said Larry Hogan, who is ending a second term as the governor of a Democratic state, Maryland, with high ratings. “Well, I’m sick and tired of our party losing. This election last week, I’m even more sick and tired than I was before. This is the third election in a row that we lost and should have won. I say three strikes and you’re out.”
Former Vice President Mike Pence peppered his speech with fond references to Trump and his refusal to heed experienced personnel who counseled an even-handed Middle East policy, a move that Pence and the RJC both believe paid off.
Yet Pence also appeared to condemn Trump’s boldest rejection of norms, his effort to overturn his 2020 loss, which spurred an insurrection at the U.S. Capitol in which Pence’s life was threatened. “The American people must know that our party keeps our oath to the Constitution even when political expediency may suggest that we do otherwise,” Pence said.
One contradiction for those in attendance was the longing for Trump’s combativeness while wanting to shuck themselves of Trump’s baggage.
Typical was Alan Kruglak, a Maryland security systems contractor who said he appreciated the pro-business measures Hogan had introduced in his state but was more interested in a fighter like DeSantis.
“Trump did great things, but I think Trump’s past his time, we need younger blood that is less controversial,” said Kruglak, 68. “Trump needs to hand the baton to somebody younger, and who doesn’t have any baggage associated with them but has the same message of being independent.”
The problem is that insiders said Trump still commands the loyalty of about 30% of the party, and that could be insurmountable in a crowded primary.
Trump, Fleischer said, was inevitable as a finalist but he didn’t have to be inevitable as the nominee.
“If there’s five, six, seven real conservative outsider candidates, Donald Trump will win with a plurality because nobody else will come close,” he said. “If there’s only one or two, it’s a fair fight.”
Who would those one or two be? Fleischer would not say. Among the Republican Jews gathered in Las Vegas, no one would.
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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.”