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How a once-cautious Benjamin Netanyahu came to lead the most radical coalition in Israel’s history
(JTA) — Twenty-seven years have passed since Benjamin Netanyahu was first elected as Israel’s prime minister. Since 1996, he has headed six governments over a period of more than 15 years, more than any other prime minister. Unfortunately, his current coalition is one of the most radical-populist governments in Israel’s history. This government seeks to rapidly undermine Israel’s democracy by granting unlimited political power to the executive branch of government at the expense of the judiciary.
How can Netanyahu — a U.S.-educated and respected world leader who was cautious in his approach to building previous coalitions, and was once respectful of Israeli democratic institutions — support such a dangerous plan? Was the “writing on the wall” earlier on in his lengthy tenure?
A glimpse into Netanyahu’s years in office reveals that, indeed, signs of his being a populist leader — specializing in attacks against the so-called elite — could be detected long ago. As Likud leader in 1993, Netanyahu was blamed for ignoring the incitement by extremists that preceded the assignation of Yitzhak Rabin (a charge he vociferously denies). As early as 1997, during his first term as prime minister, he said that “the left has forgotten what it means to be Jewish.” Two years later, during an election campaign, he mocked the “leftist” press by saying “they are scared” (by the possibility of a right-wing victory). On Election Day in 2015, he posted a video urging Likud supporters to go out and vote by warning, “the Arabs are heading in droves to the polls.” That message led to accusations that the candidate was using racial dog whistles to motivate his followers.
However, Netanyahu’s populist discourse and his natural divide-and-conquer leadership style were balanced out, at least until 2015, by several factors. First, Netanyahu always sought to include centrist and even left-of-center parties in his coalition governments. Even when he could build a “pure” right-wing coalition (following the 2009 elections, for example), he preferred to invite partners from the opposing political side. His intention, he once said, was to provide a “wide and stable government that unites the people.”
Second, despite his hawkish image and his hardline discourse on security issues, Netanyahu wa considered to be an exceedingly cautious leader in that arena. Risk-averse, he tended to avoid involving Israel in major wars and was wary of acting in ways that would spark violence between Israelis and Palestinians.
Third, over his many years in office, he had demonstrated respect for the rules of the game — and towards Israel’s Supreme Court. He even blocked earlier initiatives that sought to undermine the power of the judicial branch. “I believe that in a democracy, a strong and independent Court is what enables the existence of all other democratic institutions,” he said in 2012. “Every time a law comes across my desk that threatens to impair the independence of the courts, we will take it down.”
The 2015 elections should probably be regarded as the turning point, after which these balancing factors quickly gave way to unabashed populism. The unexpected resounding victory in that year’s elections brought out the hubris in Netanyahu. He formed a right-wing coalition government (only slightly moderated by Moshe Kahlon’s centrist Kulanu party), personally held four ministerial positions in addition to the prime ministership, and gave his blessing to the hugely controversial Nation-State Bill. This legislation, which anchored in law Israel’s status as the “national home of the Jewish people,” strengthened the Jewish component of Israel’s dual “Jewish and democratic” identity without in turn strengthening its democratic component — explicitly and implicitly downgrading minority rights.
Furthermore, Netanyahu’s longtime obsession with controlling press coverage reached a new level. His insistence on personally heading the Ministry of Communications and his excessive involvement in media — for example, installing a close ally as director-general of the ministry, and targeting and strong-arming ostensibly “unfriendly” newspapers and broadcasters — served as the background for two of the three indictments for which he is currently on trial.
The investigations on corruption charges, and his subsequent trial, further pushed Netanyahu toward populist extremes. Following three rounds of elections between 2019 and 2020, which threw Israel into an unprecedented political crisis, Netanyahu was forced to form a unity government with former Gen. Benny Gantz’s centrist Blue & White party. Coincidentally, just a few hours after the government’s first meeting, Netanyahu’s trial began in the Jerusalem District Court. The prime minister arrived at the court on May 24, 2020, accompanied by several Likud Knesset members, and launched a fierce attack:
What is on trial today is an effort to frustrate the will of the people — the attempt to bring down me and the right-wing camp. For more than a decade, the left has failed to do this at the ballot box. So over the last few years, they have discovered a new method: some segments in the police and the prosecution have joined forces with the leftist media… to manufacture baseless and absurd charges against me.
These statements made it clear that Netanyahu had crossed the Rubicon, setting the tone for his behavior ever since. He dispensed with the partnership with Gantz, sacrificing Israel’s economic and political interests along with it. In the build-up to the next elections, he legitimized extremist, racist politicians such as Bezalel Smotrich and Itamar Ben-Gvir, who are today members of his governing coalition. After failing to form a government in 2021 (having been ousted from power after more than 12 consecutive years), he violated fundamental parliamentary conventions and norms. For instance, he instructed his right-wing allies to boycott Knesset committees and refused to attend the customary “update meeting” the parliamentary opposition leader holds with the prime minister. His previous respect for the rules of the game and democratic institutions was a thing of the past.
In that sense, it is no wonder that the current government he has formed, following his victory in the 2022 elections, is relentlessly pushing the overhaul of the judicial system, with little regard to the dangers the legislation poses to Israel’s democracy. This is due to a combination of Netanyahu’s own self-interest regarding his trial and the interests and worldviews of his political partners — politicians who hold extreme views (Ben-Gvir, Smotrich) as well as those who have previous corruption charges hanging over their heads (Aryeh Deri, leader of the haredi Orthodox Shas party).
The “old Bibi” would have never coalesced with such radical forces and would have never so bluntly disregarded democratic norms. But hubris, an instinct for self-preservation and his high self-regard as the “indispensable man” of Israeli politics created a new Bibi – and a crisis unlike anything Israel has ever seen.
Ironically, Netanyahu finds himself in an unexpected position — as the moderating force in the most radical coalition in Israel’s history. He could tap the instincts that he once had and be the voice of reason, the one who plugs the dike with his finger. He has the chance to lead Israel to a major constitutional moment. Will he rise to this historical challenge?
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The post How a once-cautious Benjamin Netanyahu came to lead the most radical coalition in Israel’s history 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.”