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How the late actor Topol turned Tevye into a Zionist
(JTA) — If you were born anytime before, say, 1975, you might remember Israel not as a source of angst and tension among American Jews but as a cause for celebration. In the 1960s and ’70s, most Jews embraced as gospel the heroic version of Israel’s founding depicted in Leon Uris’ 1958 novel “Exodus” and the 1960 movie version. The1961 Broadway musical “Milk and Honey,” about American tourists set loose in Israel, ran for over 500 performances. And that was before Israel’s lightning victory in the Six-Day War turned even fence-sitting suburban Jews into passionate Zionists.
That was the mood when the film version of “Fiddler on the Roof” came out in 1971. The musical had already been a smash hit on Broadway, riding a wave of nostalgia by Jewish audiences and an embrace of ethnic particularism by the mainstream. The part of Tevye, the put-upon patriarch of a Jewish family in a “small village in Russia,” was originated on Broadway by Zero Mostel, a Brooklyn-born actor who grew up in a Yiddish-speaking home. Ashkenazi American Jews tended to think of “Fiddler” as family history — what Alisa Solomon, author of the 2013 book “Wonder of Wonders: A Cultural History of Fiddler on the Roof,” describes as the “Jewish American origin story.”
But Mostel didn’t star in the film, which landed in theaters while the afterglow of Israel’s victory in its second major war of survival had yet to fade. Famously – or notoriously – the part went to Chaim Topol, a young Israeli actor unknown outside of Israel except for his turns in the London productions of “Fiddler.” With an Israeli in the lead, a musical about the perils and dilemmas of Diaspora became a film about Zionism. When Topol played Tevye in London, Solomon writes,“‘Fiddler’ became a site for celebration, drawing Jews as well as gentiles to the theater — some for repeat viewings — to bask in Jewish perseverance and to pay homage to Jewish survival. The show didn’t change, but the atmosphere around it did.”
Topol died this week at 87, still best known as Tevye, and his death reminded me of the ways “Fiddler” is — and isn’t — Zionist. When Tevye and his fellow villagers are forced out of Anatevke by the czarist police, they head for New York, Chicago and Krakow. Only Yente, the matchmaker, declares that she is going to the “Holy Land.” Perchik, the presumably socialist revolutionary who marries one of Tevye’s daughters, wants to transform Russian society and doesn’t say a word about the political Zionists who sought to create a workers’ utopia in Palestine.
“There is nothing explicitly or even to my mind implicitly Zionist about it,” Solomon told me a few years back. And yet, she said, “any story of Jewish persecution becomes from a Zionist perspective a Zionist story.”
When the Israeli Mission to the United Nations hosted a performance of the Broadway revival of “Fiddler” in 2016, that was certainly the perspective of then-Ambassador Dani Danon. Watching the musical, he said, he couldn’t help thinking, “What if they had a place to go [and the Jews of Anatevke could] live as a free people in their own land? The whole play could have been quite different.”
Israelis always had a complicated relationship with “Fiddler,” Solomon told me. The first Hebrew production was brought to Israel in 1965 by impresario Giora Godik. American Jews were enthralled by its resurrection of Yiddishkeit, the Ashkenazi folk culture that their parents and grandparents had left behind and the Holocaust had all but erased. Israelis were less inclined to celebrate the “Old Country.”
“Israelis were — what? — not exactly ashamed or hostile, but the Zionist enterprise was about moving away from that to become ‘muscle Jews,’ and even denouncing the stereotype of the pasty, weakling Eastern European Jews,” said Solomon, warning that she was generalizing.
That notion of the “muscle Jew” is echoed in a review of Topol’s performance by New Yorker critic Pauline Kael, who wrote that he is “a rough presence, masculine, with burly, raw strength, but also sensual and warm. He’s a poor man but he’s not a little man, he’s a big man brought low — a man of Old Testament size brought down by the circumstances of oppression.”
From left: Maria Karnilova, Tanya Everett, Zero Mostel, Julia Migenes and Joanna Merlin backstage at opening night of “Fiddler on the Roof” at the Imperial Theater in New York City, Sept. 22, 1964. (AP/Courtesy of Roadside Attractions and Samuel Goldwyn Films)
Mostel, by contrast, was plump, sweaty and vaudevillian — a very different kind of masculinity. The congrast between the two Tevyes shows up in, of all places, a parody of “Fiddler” in Mad magazine. In that 1976 comic, Mostel’s Tevye is reimagined as a neurotic, nouveau riche suburban American Jew with a comb-over, spoiled hippy children and a “spendthrift” wife; Topol’s Tevye arrives in a dream to blame his descendants for turning their backs on tradition and turning America into a shallow, consumerist wasteland. A kibbutznik couldn’t have said (or sung) it better.
Composer Jerry Bock, lyricist Sheldon Harnick and book writer Joseph Stein set out to write a hit musical, not a political statement. But others have always shaped “Fiddler” to their needs.
In the original script, Yente tells Tevye’s wife Golde, “I’m going to the Holy Land to help our people increase and multiply. It’s my mission.” In a 2004 Broadway revival, staged in the middle of the second intifada, the “increase and multiply” line was excised. In a review of Solomon’s “Wonder of Wonders,” Edward Shapiro conjectured that the producers of the revival didn’t want Yente to be seen as “a soldier in the demographic war between Jews and Arabs.”
Topol himself connected “Fiddler” to Israel as part of one long thread that led from Masada — the Judean fortress where rebellious Jewish forces fell to the Romans in the first century CE — through Russia and eventually to Tel Aviv. “My grandfather was a sort of Tevye, and my father was a son of Tevye,” Topol told The New York Times in 1971. “My grandfather was a Russian Jew and my father was born in Russia, south of Kiev. So I knew of the big disappointment with the [Russian] Revolution, and the Dreyfus trial in France, and the man with the little mustache on his upper lip, the creation of the state of Israel and ‘Masada will never fall again.’ It’s the grandchildren now who say that. It’s all one line — it comes from Masada 2,000 years ago, and this Tevye of mine already carries in him the chromosomes of those grandchildren.”
The recent all-Yiddish version of “Fiddler on the Roof” — a Yiddish translation of an English-language musical based on English translations of Yiddish short stories — readjusted that valence, returning “Fiddler” solidly to the Old Country. It arrived at a time when surveys suggested that Jews 50 and older are much more emotionally attached to Israel than are younger Jews. For decades, “Exodus”-style devotion to Israel and its close corollary — Holocaust remembrance — were the essence of American Jewish identity. Among younger generations with no first-hand memories of its founding or victory in the 1967 war, that automatic connection faded.
Meanwhile, as Israeli politics have shifted well to the right, engaged liberal Jews have rediscovered the allure of pre-Holocaust, pre-1948, decidedly leftist Eastern European Jewish culture. A left-wing magazine like Jewish Currents looks to the socialist politics and anti-Zionism of the Jewish Labor Bund; symposiums on Yiddish-speaking anarchists and Yiddish-language classes draw surprisingly young audiences. A Yiddish “Fiddler” fits this nostalgia for the shtetl (as does the “Fiddler” homage in the brand-new “History of the World, Part II,” which celebrates the real-life radical Fanny Kaplan, a Ukrainian Jew who tried to assassinate Lenin).
Topol’s Tevye was an Israeli Tevye: young, manly, with a Hebrew accent. Mostel’s Tevye was an American Tevye: heimish, New York-y, steeped in Yiddishkeit. It’s a testament to the show’s enduring appeal — and the multitudes contained within Jewish identity — that both performances are beloved.
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Dutch Arrest 15 Suspected of Spreading Islamic State Propaganda on TikTok
Islamic State slogans painted along the walls of the tunnel was used by Islamic State militants as an underground training camp in the hillside overlooking Mosul, Iraq, March 4, 2017. Photo: via Reuters Connect.
Fifteen people were arrested in the Netherlands on Tuesday on suspicion of spreading propaganda for Islamic State on TikTok and trying to persuade people to commit terrorist attacks, Dutch prosecutors said.
The arrests were triggered by a TikTok account that spread large amounts of IS propaganda with Dutch subtitles, the prosecutors said.
The TikTok posts, some with more than 100,000 views, encouraged people to join Islamic State and glorified becoming a martyr for the violent Islamist group, they said.
Thirteen of the suspects are Syrian, and four have Dutch nationality, prosecutors said, implying that some were dual nationals. Four are minors.
The suspects, aged 16 to 53, were detained in raids across the Netherlands, following the arrest last month of a person who the prosecutors said was the main suspect.
TikTok is owned by China’s Bytedance.
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US Used Mobile Launchers for Missiles at Qatar Base as Iran Tensions Rose, Satellite Pictures Show
Satellite image shows F-15E, A-10 Thunderbolt, and C-130 Hercules at the Muwaffaq Salti Air Base, in Al Azraq, Jordan, Feb. 2, 2026. Photo: 2026 PLANET LABS PBC/Handout via REUTERS
US forces in Qatar‘s al-Udeid, the biggest US base in the Middle East, put missiles into truck launchers as tensions with Iran ratcheted up since January, analysis of satellite images showed, meaning they could be moved more quickly.
The decision to keep the Patriot missiles in mobile trucks rather than semi-static launcher stations — meaning they could rapidly deploy to strike or be moved defensively in case of an Iranian attack — shows how risks heightened as frictions grew.
US President Donald Trump has threatened to bomb Iran over its nuclear and ballistic missile programs, its backing for allied terrorist groups in the Middle East, and crushing of internal dissent, though talks to avert a war continue.
There are also US bases in Iraq, Jordan, Kuwait, Saudi Arabia, Qatar, Bahrain, the United Arab Emirates, Oman, Turkey, and on Diego Garcia in the Indian Ocean.
Iran‘s Revolutionary Guards have warned that in case of strikes on Iranian territory, they could retaliate against any US base.
A comparison of satellite photographs in early February with those taken in January shows a recent build-up of aircraft and other military equipment across the region, said William Goodhind, a forensic imagery analyst with Contested Ground.
At al-Udeid, the Patriot missiles were visible parked mounted into M983 Heavy Expanded Mobility Tactical Trucks (HEMTT) at the start of February, Goodhind said.
“The decision to do so gives the Patriots much greater mobility, meaning they can be moved to an alternative site or repositioned with greater speed,” he said.
It was not clear on Tuesday whether the missiles were still in the HEMTTs.
A spokesperson for the Pentagon was not immediately available for comment.
Iran says it has replenished its missile stocks after two weeks of conflict last summer when Israel bombed its nuclear facilities and some other military targets, a campaign that the United States joined late on.
Iran has underground missile complexes near Tehran, as well as at Kermanshah, Semnan and near the Gulf coast.
The Iranian naval drone carrier IRIS Shahid Bagheri was visible in satellite photographs on Jan. 27 at sea some 5 km from Bandar Abbas. It was also visible near Bandar Abbas on February 10.
Here are changes at US Middle East bases observed in satellite pictures:
AL-UDEID, QATAR:
Images from February 1 showed an RC-135 reconnaissance aircraft, three C-130 Hercules aircraft, 18 KC 135 Stratotankers, and seven C-17s. On Jan. 17 there had been 14 Stratotankers and two C-17s.
Up to 10 MIM-104 Patriot air defense systems were parked in HEMTTs.
MUWAFFAQ, JORDAN:
Images from Feb. 2 of one location in Muwaffaq showed 17 F15-E strike aircraft, 8 A-10 Thunderbolt aircraft, four C-130s, and four unidentified helicopters. Images from Jan. 16 were low resolution and it was not possible to identify all aircraft there.
Feb. 2 images of a second location in Muwaffaq showed a C-17 and a C-130, as well as four EA-18G Growler electronic warfare aircraft. Pictures of that location on Jan. 25 had not shown any aircraft.
OTHER BASES:
At Prince Sultan base in Saudi Arabia, images on Feb. 2 showed a C-5 Galaxy and a C-17 aircraft. Images on Dec. 6 showed five aircraft that appeared to be C-130s.
Satellite images from Feb. 6 showed seven more aircraft than had been observed on Jan. 31 at Diego Garcia in the Indian Ocean.
Images taken on Jan. 25 and Feb. 10 showed an increase in aircraft at Dukhan base in Oman.
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US Vice President Vance’s Office Backtracks After Statement on ‘Armenian Genocide’
US Vice President JD Vance speaks to the media before boarding Air Force Two upon departure for Azerbaijan, at Zvartnots International Airport in Yerevan, Armenia, Feb. 10, 2026. Photo: REUTERS/Kevin Lamarque/Pool
The White House on Tuesday deleted a post from Vice President JD Vance’s account that commemorated massacres of Armenians as a “genocide,” saying the message that was likely to irk US-allied Turkey was posted in error.
Vance, who was on a two-day trip to Armenia, visited the Tsitsernakaberd Armenian Genocide Memorial in Yerevan during the first-ever visit by a US vice president to the South Caucasus republic.
There, he and wife Usha Vance participated in a ceremonial laying of a wreath of carnations, chrysanthemums, and roses at the site, which honors the 1.5 million Armenians who lost their lives in the final years of the Turkish-led Ottoman Empire.
Vance’s official account on X later described the visit as designed “to honor the victims of the 1915 Armenian genocide.”
After that post was deleted, a Vance aide who declined to be named said the message was posted in error by staff who were not part of the traveling delegation.
“This is an account managed by staff that primarily exists to share photos and videos of the Vice President’s activities,” said a spokesperson for Vance, referring to his own comments, which did not include the phrase “genocide.”
TRUMP’S TIES TO TURKEY
Turkey is a NATO ally of the United States and President Tayyip Erdogan has maintained close ties with President Donald Trump, including supporting the US diplomatic initiative on Gaza.
Turkey accepts that many Armenians living in the Ottoman Empire were killed in clashes with Ottoman forces during World War I, but contests the figures and denies the killings were systematically orchestrated and constitute a genocide.
Although the US Congress and Trump’s predecessor, Joe Biden, have both recognized the 1915 massacres as a genocide, Trump avoided that language in his own statement on the killings last year.
The social media deletion came four days after the White House defended, and then deleted, a racist depiction of former President Barack Obama and first lady Michelle Obama as apes posted to Trump’s Truth Social account.
Trump later told reporters that he had not watched the entire video before a White House aide posted it to his account.
Asked by a reporter whether his visit to the memorial was intended to recognize a genocide, Vance said, “Obviously, it’s a very terrible thing that happened little over 100 years ago, and something that was just very, very important to them culturally.”
“So, I thought out of a sign of respect, both for the victims, but also for the Armenian government that’s been a very important partner for us in the region, to Prime Minister Pashinyan, I wanted to go and pay a visit and pay my respects.”
Vance’s visit was aimed at promoting agreements the Trump administration struck with Armenia and Azerbaijan to build toward peace after nearly 40 years of war between the Caucasus rivals. Trump has presented those diplomatic efforts as among the chief accomplishments of his time in office.
In Armenia, Vance signed a deal with Prime Minister Nikol Pashinyan that could pave the way for the US to build a nuclear power plant there.
On Tuesday, he traveled to Azerbaijan and signed a strategic partnership deal encompassing economic and security cooperation, as Washington seeks to expand its influence in a region where Russia was once the main power broker.