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How one man’s burial brought Jews and Christians together — and what it still teaches 120 years later
“The beautiful little synagogue was filled to capacity,” the Tupper Lake Herald reported on February 12, 1915. “Many were there who had known Mr. Cohn for the past twenty years — old Adirondack pioneers… The air was heavy with tears as Rev. Boyd of the Episcopal Church lifted a Hebrew prayer book given him by Mr. Cohn a few years ago.”
The man they gathered to honor was Harris Cohn, an early Jewish resident of Tupper Lake, New York. His funeral filled the small Beth Joseph Synagogue, the same wooden building that still stands today, now celebrating its 120th anniversary.
Just a decade earlier, in 1904 or 1905, local families — peddlers, merchants, and new immigrants — had pooled roughly $450 to build it, holding Hebrew school classes in the town hall while waiting for carpenters to finish the sanctuary. In 1911 they purchased an acre for a cemetery beside the Methodist burial ground.
Cohn, the paper wrote, was “the personification of honor, truth, and integrity” — a man of “deep religious convictions… the firm believer of righteousness, benevolence, charity and prayers.” His “belief in God,” the editor added, “was so ideal, so far elevated above all earthly things, that no sacrifice was too great to show and prove his devotion to his Maker.”
Rabbi S. Freedman of Beth Joseph led the prayers, chanting the memorial service in Hebrew. Then the local Episcopal minister rose to speak.
He held up the worn Hebrew prayer book Cohn had given him and said, “I prize this book so much, for Mr. Cohn was a man whom I admired and with whom I established a strong and lasting friendship.” Then he turned to the young people present and urged them “to hold fast to whatever denomination they were reared under,” reminding them that conviction and faith come from devotion to one’s own tradition.
The rabbi had spoken of religion not as a convenience but as “a deep solace to the soul.” The minister, moved also by faith, echoed it in his own words. Jews and Christians mourned together. When the eulogies ended, the mourners recited kaddish, an ancient prayer offering comfort and acknowledging God.
I came across this article, digitized through the New York State Historic Newspapers archive, while researching Jewish life in nearby Ogdensburg and Massena. I paused to hold this memory. I had been tracing the histories of small-town synagogues — some now closed, others still standing in places like New York’s North Country and across the Midwest. In Tupper Lake, as in so many places, Jewish life grew quickly and then thinned with time: by 1913 a Sisterhood had formed; by 1914, a lodge of the Independent Order of Brith Abraham met in the synagogue twice a month; and by 1918, Beth Joseph had joined the Union of American Hebrew Congregations. Each step spoke to a community that saw itself as part of something enduring, even in a place far removed from America’s largest Jewish centers.
The story of Harris Cohn’s funeral felt familiar. I had come across many such moments in small-town American history, and it revealed something essential that runs through so many of these places: a moral imagination larger than their size.
These were communities where faith was not theoretical. Jews and their neighbors depended on one another — through long winters, economic hardship, and the isolation of distance. Synagogues, often built by peddlers and storekeepers, became civic landmarks as much as houses of worship. A century later, when we look back at the geography of American Jewish life, we see that its reach was far wider than today’s metropolitan map suggests. For every major center of Jewish population, there were dozens of smaller congregations that carried the same prayers into fields, factory towns, and forest settlements.
It’s easy to forget that these rural sanctuaries once embodied outposts of Jewish belonging. Their stories are rarely told, overshadowed by the better-known narratives of New York, Chicago, or Los Angeles. Yet in towns like Tupper Lake, Judaism became part of the spiritual language of the whole community.
That is what moved me about the 1915 funeral. The newspaper account wasn’t written for a Jewish audience. It was published for the whole town, describing the service with reverence and curiosity but without exoticism. The boundaries between communities blurred, and what emerged was shared moral clarity: the belief that dignity, faith, and friendship can withstand every division.
There is something profoundly Jewish in the humility of that service. The simplicity of the synagogue, the equality of all before death, the act of remembrance itself — all mirror the same values I have seen in Jewish life today. In Tupper Lake, that ethos endured. By the 1930s, Beth Joseph opened its doors to patients from the nearby state hospital for Passover Seders, and in 1925 Rabbi Freedman — the same clergyman who eulogized Cohn — offered words of comfort at a Masonic memorial for a Presbyterian pastor. The boundaries were always more porous than history remembers.
Beth Joseph’s continued presence in Tupper Lake is a kind of quiet miracle. This year marks its 120th anniversary — a milestone few rural synagogues reach. The synagogue testifies that Jewish life has, at various times and places, reached into nearly every corner of America, leaving behind something worth remembering: the habit of neighborliness, the belief that God is present wherever people honor one another.
When Rev. Boyd lifted that Hebrew book at a funeral in 1915, he could not have known how far that gesture would travel. But in reading it more than a century later, I think of it as an act of faith in its own right. A Christian minister, holding the sacred words of another tradition, showing them to his townspeople with tenderness. That is a kind of sermon that still preaches.
The story of Harris Cohn’s funeral is not about a vanished world. It is about a world that, at least for one afternoon in the Adirondacks, revealed its best self.
The prayer book may no longer exist, but its lesson remains open: that the sacred is never confined by walls, and that remembering each other is itself a holy act.
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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Jewish hockey star Jack Hughes’ overtime goal propels US to historic gold medal in Olympic hockey
(JTA) — Jewish hockey star Jack Hughes scored the game-winning goal Sunday to clinch a gold medal for the U.S. men’s hockey team, its first since 1980.
The New Jersey Devils star center, who had scored twice in Team USA’s semifinal win, sent the puck between the legs of Canadian goaltender Jordan Binnington 1:41 into overtime to give the American team a 2-1 win.
“This is all about our country right now. I love the USA,” Hughes told NBC. “I love my teammates.”
The win broke a 46-year Olympic drought for Team USA, which had not taken gold since the famous “Miracle on Ice” team that upset the Soviet Union on its way to gold in 1980. The United States also won in 1960.
“He’s a freaking gamer,” Quinn Hughes, Jack’s older brother and U.S. teammate said, according to The Athletic. “He’s always been a gamer. Just mentally tough, been through a lot, loves the game. American hero.”
Quinn Hughes is a defender for the Minnesota Wild and a former captain of the Vancouver Canucks who won the NHL’s top defenseman award in 2024. He was also named the best defender in the Olympic tournament by the International Ice Hockey Federation after scoring an overtime goal to send the U.S. team to the semifinals.
The third Jewish member of the U.S. team, Boston Bruins goaltender Jeremy Swayman, won the one game he played, a Feb. 14 preliminary-round victory over Denmark.
The Hughes family — rounded out by youngest brother Luke, who also plays for the Devils — has long been lauded as a Jewish hockey dynasty. They are the first American family to have three siblings picked in the first round of the NHL draft, and Jack was the first Jewish player to go No. 1 overall. They are also the first trio of Jewish brothers to play in the same NHL game and the first brothers to earn cover honors for EA Sports’ popular hockey video game.
Jack, who had a bar mitzvah, has said his family celebrated Passover when he was growing up. Their mother, Ellen Weinberg-Hughes, who is Jewish, represented the U.S. women’s hockey team at the 1992 Women’s World Championships and was on the coaching staff of the gold-medal-winning women’s team in Milan. Weinberg-Hughes is also a member of the International Jewish Sports Hall of Fame.
Hughes’ golden goal ushered in a burst of Jewish pride on social media, with one user calling it “the greatest Jewish sports moment of all time.” The Hockey News tweeted that Hughes was “the first player in hockey history to have a Bar Mitzvah and a Golden Goal! Pretty cool!”
Jewish groups and leaders also jumped on the praise train. “Special shout out to @jhugh86 on scoring the game-winning goal!” tweeted Jonathan Greenblatt, CEO of the Anti-Defamation League. “Beyond his incredible skill on the ice, Jack makes history as a proud representative of the American Jewish community, reminding us that the Jewish people are interwoven into America in her 250th year! Mazel Tov, Jack!”
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