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For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness

(JTA) — Jewish stories have had top billing on Broadway this season — and Jewish audiences have been flocking to the theater.

Audiences have lined up to see Tom Stoppard’s “Leopoldstadt,” the multigenerational saga of a Jewish family in Vienna, and the devastating consequences of the Holocaust upon its ranks. They have packed the house for “Parade,” a musical retelling of the infamous antisemitic show trial and subsequent lynching of Leo Frank in Marietta, Georgia, in 1915. And just off Broadway, “The Wanderers” (which closed April 2) invited us into the slowly disintegrating marriage of two secular Jews born to mothers who dramatically left the Satmar sect of ultra-Orthodox Judaism, a show replete with intergenerational trauma and a pervasive sense of ennui. 

None of these shows offers a particularly lighthearted evening at the theater. So why have they proven so popular? Critics have penned countless reviews of the three plays, analyzing the quality of the productions, the scripts, scores, performances of principal actors, set and design. But for our new book exploring what audiences learn about Judaism from Jewish cultural arts, my colleague Sharon Avni and I have been interviewing audience members after seeing “Leopoldstadt,” “Parade” and “The Wanderers.” We are interested in turning the spotlight away from the stage and onto the seats: What do audiences make of all this? What do they learn?

Take “Leopoldstadt,” for example, a drama so full of characters that when it left London for its Broadway run the production team added a family tree to the Playbill so that theatergoers could follow along. “Leopoldstadt” offers its audience a whistle-stop introduction to modern European Jewish history. In somewhat pedantic fashion, the family debates issues of the day that include Zionism, art, philosophy, intermarriage and, in a searing final scene, the memory of the Holocaust. 

For some of the theatergoers that we interviewed, “Leopoldstadt” was powerful precisely because it packed so much Jewish history into its two-hour run time. It offered a basic literacy course in European Judaism, one they thought everyone needed to learn. Others, however, thought that this primer of Jewish history was really written for novice audiences — perhaps non-Jews, or assimilated Jews with half-remembered Jewish heritage, like Stoppard himself. “I don’t know who this play is for,” one interviewee told us. “But it’s not me. I know all this already.”  

Brandon Uranowitz, left, who plays a Holocaust survivor, confronts Arty Froushan as a young writer discovering his Jewish roots, in the Broadway production of Tom Stoppard’s “Leopoldstadt.” (Joan Marcus)

Other interviewees thought the power of “Leopoldstadt” lay not in its history lessons, but in its ability to use the past to illuminate contemporary realities. I spoke at length with a woman who had been struggling with antisemitism at work. Some of her colleagues had been sharing social media posts filled with lazy caricatures of Jews as avaricious capitalists. Upon seeing “Leopoldstadt,” she realized that these vile messages mirrored Nazi rhetoric in the 1930s, convincing her that antisemitism in contemporary America had reached just as dangerous a threshold as beheld European Jews on the eve of the Shoah.

We heard similar sentiments about the prescience of history to alert us to the specter of antisemitism today from audiences who saw “Parade.” Recalling a scene where the cast members wave Confederate flags during the titular parade celebrating Confederate Memorial Day, Jewish audiences recalled feeling especially attuned to Jewish precarity when the theater burst into applause at the end of the musical number. “Why were we clapping Confederate flags?” one of our interviewees said. “I’ve lived in the South, and as a Jew I know that when you see Confederate flags it is not a safe space for us.” 

“Parade” dramatizes the popular frenzy that surrounded the trial of Leo Frank, a Yankee as well as a Jew, who was scapegoated for the murder of a young Southern girl. Jewish audience members that we interviewed told us that the play powerfully illustrated how crowds could be manipulated into demonizing minorities, comparing the situation in early 20th century Marietta to the alt-right of today, and the rise of antisemitism in contemporary America.

What we ultimately discovered, however, was that audience perceptions of the Jewish themes and characters in these productions were as varied as audiences themselves. Inevitably, they tell us more about the individual than the performance. Yet the fact that American Jews have flocked to these three shows — a secular pilgrimage of sorts — also illustrates the power and the peril of public Jewish storytelling. For audience members at “Leopoldstadt” and “Parade,” especially, attending these performances was not merely an entertaining evening at the theater. It was a form of witnessing. There was very little to be surprised by in these plays, after all. The inevitable happens: The Holocaust destroys Jewish life in Europe, Leo Frank is convicted and lynched. Jewish audiences know to expect this. They know there will be no happy ending. In the secular cultural equivalent to saying Kaddish for the dead, Jewish audiences perform their respect to Jewish memory by showing up, and by paying hundreds of dollars for the good seats.

The peril of these performances, however, is that audiences learn little about antisemitism in reality. The victims of the Nazis and the Southern Jews of Marietta would tell us that they could never have predicted what was to happen. Yet in “Parade” and “Leopoldstadt” audiences are asked to grapple with the naivete of characters who believe that everything will be all right, even as audiences themselves know that it will not. By learning Jewish history on Broadway, audiences are paradoxically able to distance themselves from it, simply by knowing too much.  

In the final scene of “Leopoldstadt,” Leo, the character loosely based on Stoppard himself, is berated by a long-lost relative for his ignorance of his family’s story. “You live as if without history,” the relative tells Leo. “As if you throw no shadow behind you.” Audiences, at that moment, are invited to pat themselves on the back for coming to see the show, and for choosing to acknowledge the shadows of their own Jewish histories. The cold hard reality, however, is that a shadow can only ever be a fuzzy outline of the truth.


The post For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness appeared first on Jewish Telegraphic Agency.

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UC Berkeley Settles Lawsuit Brought by Israeli Professor Denied Teaching Position

Students attend a protest encampment in support of Palestinians at University of California, Berkeley during the ongoing conflict between Israel and the Palestinian Islamist group Hamas, in Berkeley, US, April 23, 2024. Photo: Carlos Barria via Reuters Connect

The University of California, Berkeley has agreed to pay a five-figure sum to settle claims that it unlawfully denied a teaching position to a dance instructor because she is Israeli, both the victim’s legal counsel, provided by the Louis D. Brandeis Center for Human Rights Under Law, and the school announced on Wednesday.

As previously reported by The Algemeiner,  Dr. Yael Nativ, who taught in UC Berkeley’s Department of Theater, Dance, and Performance Studies as a visiting professor in 2022, was denied another appointment in the department because a hiring official allegedly believed that her employment would be unpalatable to students and faculty in the aftermath of the Palestinian terrorist group Hamas’s Oct. 7, 2023, massacre across southern Israel, amid the ensuing Gaza war.

“My dept [sic] cannot host you for a class next fall,” the official allegedly told Nativ in a WhatsApp message. “Things are very hot here right now and many of our grad students are angry. I would be putting the dept and you in a terrible position if you taught here.”

Berkeley’s Office for the Prevention of Harassment and Discrimination (OPHD) later initiated an investigation into Nativ’s denial after the professor wrote an opinion essay which publicly accused the school of cowardice and violations of her civil rights. OPHD determined that a “preponderance of evidence” proved Nativ’s claim, but school officials went on to ignore the professor’s requests for an apology and other remedial measures, including sending her a renewed invitation to teach dance.

After nearly two years, the situation had remained unresolved, prompting Nativ to file suit and seek damages as well as the apology UC Berkeley refused to pronounce at the time. Now, just under four months after the filing of Nativ’s complaint, the two parties have reached an amiable settlement and disclosed its terms in a joint statement.

“As part of the settlement, UC Berkeley has agreed to continue to strictly enforce the University of California’s Anti-Discrimination Policy and ‘respond promptly and equitably to reports’ of prohibited conduct as defined in that policy,” the statement said. “Dr. Nativ will receive a personal apology from UC Berkeley’s Chancellor Rich Lyons and monetary damages in the amount of $60,000, a portion of which she has decided to donate to a charitable organization.”

The statement added that Nativ will be invited to teach the course she was denied, a major victory for the professor and a positive, if unusual, act of reconciliation between an employer and employee who were only recently contesting claims of discrimination in civil court.

“The excellence of Dr. Nativ’s teaching was never in question, and UC Berkeley appreciates Dr. Nativ’s willingness to teach the course despite the discrimination that OPHD found to have occurred,” the statement added.

In her own statement, Nativ said, “Incidents of discrimination of any kind must have no place within environments dedicated to learning and the free exchange of ideas. It is my hope that this outcome contributes to strengthening these commitments for all scholars and students.”

UC Berkeley was the site of one the most shocking antisemitic incidents in recent memory in the months which followed the Hamas-led Oct. 7 massacre across southern Israel, as previously reported by The Algemeiner.

In February 2024, a mob of hundreds of pro-Palestinian students and non-students shut down an event at UC Berkeley featuring an Israeli soldier, forcing Jewish students to flee to a secret safe room as the protesters overwhelmed campus police.

Footage of the incident showed a frenzied mass of anti-Zionist agitators banging on the doors of Zellerbach Hall while an event featuring Israeli reservist Ran Bar-Yoshafat — who visited the university to discuss his military service during Hamas’s Oct. 7 invasion — took place inside. The mob then stormed the building — breaking glass windows in the process, according to reports in the Daily Wire — and precipitated school officials’ decision to evacuate the area.

During the infiltration of Zellerbach, one of the mob — which was recruited by Bears for Palestine, which had earlier proclaimed its intention to cancel the event — spit on a Jewish student and called him a “Jew,” pejoratively.

“You know what I was screamed at? ‘Jew, you Jew, you Jew,’ literally right to my face,” the student who was attacked said to a friend. “Some woman — then she spit at me.”

Shaya Keyvanfar, a student, told The Algemeiner that her sister was spit on and that the incident was unlike any she had ever witnessed.

“Once the doors were closed, the protesters somehow found a side door and pushed it open, and a few of them managed to get in, and once they did, they tried to open the door for the rest of them,” Keyvanfar said. “It was really scary. They were pounding on the windows outside — they broke one — they spit at my sister and others. They called someone a dirty Jew. It was eerie.”

In July, the chancellor of UC Berkeley described a professor who cheered Hamas’s Oct. 7 atrocities as a “fine scholar” during a congressional hearing held at Capitol Hill.

Richard K. Lyons, who assumed the chancellorship in July 2024, issued the unmitigated praise while being questioned by members of the US House Committee on Education and the Workforce, which summoned him and the chief administrators of two other major universities to interrogate their handling of the campus antisemitism crisis.

Lyons stumbled into the statement while being questioned by Rep. Lisa McClain (R-MI), who asked the chancellor to describe the extent of his relationship and correspondence with Professor Ussama Makdisi, who tweeted in February 2024 that he “could have been one of those who broke through the siege on Oct. 7.”

“What do you think the professor meant,” McClain asked Lyons, to which the chancellor responded, “I believe it was a celebration of the terrorist attack on Oct. 7.” McClain proceeded to ask if Lyons discussed the tweet with Makdisi or personally reprimanded him, prompting an exchange of remarks which concluded with Lyons saying, “He is a fine scholar.”

Follow Dion J. Pierre @DionJPierre.

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Praise for soccer star Leo Messi in new album of Yiddish songs for kids

Jordan Wax, a Santa Fe-based performer and composer of Yiddish and New Mexican regional music, has just released a record of original secular Yiddish children’s songs. When asked why, he didn’t skip a beat: “My day job is doing kids’ music,” he said.

It started eight years ago when Wax, who’s a vocalist and multi-instrumentalist, took a job singing bilingual Spanish-English songs for toddlers across the three branches of the Santa Fe public library. The repertoire included traditional songs from New Mexico and Mexico, as well as his own adaptations of traditional songs to make them bilingual and participatory.

Now, he’s a regular feature at the local Jewish preschool, in Temple Beth Shalom. The songs are still bilingual — but this time, they’re in Yiddish and English.

In his new album Pantakozak and Other New Yiddish Songs for Kids, some of the songs were actually written in collaboration with these very preschoolers. “The Polar Bear song came from one of them who was kind of grumpy that day, and just wanted to roar and be ferocious and express rage,” he said.

The album was released by the Yiddish specialist label Borscht Beat in late November of this year.

Wax’s background with children’s music might seem surprising if you’ve heard his other album, the recently-released Taytsh [The Heart Deciphers], which features heavy subject matter like the bloodlust of power, the loss of culture, perpetual war and the fallout of late-stage capitalism, all sung in Yiddish.

At the same time, he’s very comfortable with being silly, and wants people to know that Yiddish culture is, too. “Yiddish music does have a lot of seriousness. It does have a lot of political commentary. It has a lot of spiritual commentary. But it also has fun and goofiness.” For example, “Bulbes,” a nonsense song about eating potatoes everyday, is part of the traditional Yiddish canon.

Along with light humor, Pantakozak is deeply infused with stories and musical references to prewar Jewish Eastern Europe — material that Wax started recording in earnest during a visit to Moldova in 2023. He took a special interest in the traditional Romani Lăutari music of the Bessarabian region, which was once closely entwined with local klezmer music, and befriended the Lăutari band Taraf de Chișinău. They feature on several tracks, including the Hanukkah song Khanike iz Freylekh / Spin Around Like a Dreydl, where Vladislav Tanas’ cimbalom drives the pulsating rhythm.

The album reflects a deep Jewish connection to the Old World. Wax’s late friend, Misha Limanovitch, was a storyteller who grew up in a Yiddish-speaking home in Olechnowicze, formerly Poland, now part of Belarus. Limanovitch made the old world that felt nearly mythical to Wax feel close at hand until he passed away in 2023.

Limanovitch described a resident of the village called Itshke the Klezmer, a recording of which later became the introductory part of Wax’s song, “Itshke the Klezmer.” “He remembered this character in his village who would come around, who was a kind of itinerant musician, a klezmer,” Wax said. “That made a big impression on me after studying klezmer music.” Wax had heard a lot about the village musicians in Eastern Europe, and before hearing about Itshke the klezmer, it all felt “like a million light years away.”

Limanovich also told Wax the story of Pantakozak, the Cossack-like figure who threatened children that he would go into their cradles if they didn’t lay quiet — a story which his sister used to tell him before going to bed. Wax wasn’t sure if this young girl made up the story or not, since he couldn’t find any reference to this creature anywhere.

Wax also looked through the Yiddish Book Center’s OCR (optical character recognition) for phrases that Limanovich had told him about Pantakozak, like “ikh hob dray lange nezer, ikh trink fun draytsn glezer,” (I have three long noses, I drink from 13 glasses) and other absurd rhymes. He found the phrases in the 1917 Antologye, 500 yor yidishe poezye, an anthology of 500 years of Yiddish poetry, in a verse written by the compiler himself, Morris Bassin. Bassin called Pantakozak, the Cossack-monster, by a different name: Gonte Kozak.

Wax was enthused to see that his preschoolers enjoyed the resulting song he composed from the story. One of the preschool teachers sent him a phone video showing a group of four-year-olds sitting around a table during snack time, reciting lines from his song about Pantakozak: “My name is Panta Kozak! I blow up like a blozak! I put on stripey pants, I do my Panta dance!”

The structure of the album is designed not only for kids, but also for their parents and caretakers. The album begins with music aimed at motivating kids to move their bodies and wiggle. One is a Yiddish counting song, “Di hent af di fis un di fis af di hent” (“Your hands on your feet and your feet on your hands”). While it resembles the contemporary English children’s song “Head, Shoulders, Knees and Toes,” it contains references to a traditional Jewish “patsh-tants,” a hand-clapping dance.

Afterwards, the album settles into storytime legends old and new, featuring  Limanovich’s tales and a ballad dedicated to Argentinian soccer star Leo Messi. (“There was a kid who wouldn’t sing about anything if it wasn’t Leo Messi,” Wax explained.) The songs then adopt a slower pace until they lead into the peaceful, moving lullaby, “Khayeles Viglid”  (Little Chaya’s lullaby).

But when the kids are asleep, the album isn’t over. A more somber adult-oriented piece appears: “Yugnt-Himen” (“Anthem of the Young, written in 1943 by Shmerke Kaczerginski, the Vilna Ghetto cultural organizer and member of the “Paper Brigade,” the group that smuggled important cultural materials into the ghetto. The melody was composed by Basye Rubin, a contemporary of Kaczerginski’s.

In an archival recording excerpted at the beginning of the track, Kaczerginski recalls the need to give courage to the younger generation through song. “Those times demanded, more than any other time, courage and spirit in the face of despair; I taught this song in the ghetto to children,” he says.

Wax sings the original along with adaptations of his own in English. Its stirring message is meant for everyone: “Yung iz yeder, yeder, yeder ver es vil nor,” anyone who wants to be young is indeed young.

Pantakozak’s lyrics, its embrace of intergenerational bonding and its meaningful historical references — as well as its high quality production and performances — are unusual in children’s music. The care that Wax put into this record comes from his idea that we should respect our children’s intelligence, just as Kaczeginski implied in his introduction to the song.

“They deserve to be given something that has the same integrity as what I would want to be given,” Wax said.

 

The post Praise for soccer star Leo Messi in new album of Yiddish songs for kids appeared first on The Forward.

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Israeli Druze Leader Seeks US Security Guarantees for Syrian Minority

Leader of the Druze community in Israel, Sheikh Mowafaq Tarif, speaks with Reuters at his house in Julis, northern Israel, July 28, 2025. Photo: REUTERS/Ali Sawafta

Israeli Druze leader Sheikh Mowafaq Tarif urged the United States to guarantee the security of the Druze community in Syria to prevent a recurrence of intense violence earlier this year in Sweida, a Druze-majority province in Sunni-dominated Syria.

Washington needed to fulfill its “duty” to safeguard the rights of Syria’s minorities in order to encourage stability, Tarif told Reuters on Tuesday during an official visit to the UN in Geneva, adding that US support would also remove the need for Israeli intervention in Syria’s south.

“We hope that the United States, President Trump, and America as a great power, we want it to guarantee the rights of all minorities in Syria … preventing any further massacres,” he said.

US President Donald Trump vowed in November to do everything he can to make Syria successful after landmark talks with Syrian President Ahmed al-Sharaa.

BLOODY CLASHES IN JULY

The Druze are a minority group whose faith is an offshoot of Islam and have followers in Israel, Syria, and Lebanon.

In July, clashes between Druze and Bedouin residents broke out in Sweida after tit-for-tat kidnappings, leading to a week of bloodletting that shattered generations of fragile coexistence.

The violence worsened when government forces dispatched to restore order clashed with Druze militiamen, with widespread reports of looting, summary killings, and other abuses.

Israel entered the fray with encouragement from its Druze minority, attacking government forces with the stated aims of protecting Syrian Druze and keeping its borders free from militants.

Tens of thousands of people from both communities were uprooted, with the unrest all but ending the Bedouins’ presence across much of Sweida.

In the aftermath, Druze leaders called for a humanitarian corridor from the Golan to Sweida and demanded self-determination, which the government rejects.

‘NEED TO REBUILD TRUST’

Asked about proposals by influential Druze Sheikh Hikmat al-Hajari to separate Sweida from Syria, Tarif took a different stance, stressing the need for internal autonomy or self-governance within Syria as a way of protecting minorities and their rights and pointing to federal systems in Switzerland and Germany as examples.

It was inconceivable to ask the Druze to surrender their weapons, he said. Talks to bring Sweida’s former police force onto Damascus‘ payroll — while allowing the Druze to retain wide local autonomy — had been making steady progress until July’s bloodshed derailed them.

Al-Sharaa, a former al Qaeda commander who led rebel factions that ousted former long-time leader Bashar al-Assad last December, has vowed to protect the Druze. However, Hajari insists he poses an existential threat to his community and in September rejected a 13-point, US-brokered roadmap to resolve the conflict.

Asked if talks should be revived, Tarif said trust had to be rebuilt by allowing residents to return to their homes, and permitting full humanitarian access to Sweida.

“There is no trust today … Trust must be rebuilt,” he said.

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