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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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The post How the late actor Topol turned Tevye into a Zionist appeared first on Jewish Telegraphic Agency.
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Mikveh unearthed beneath Western Wall plaza shows evidence of Temple’s destruction
Archaeologists have uncovered a 2,000‑year‑old Jewish ritual bath beneath the Western Wall Plaza in Jerusalem that bears ash and destruction debris from the Roman conquest of the city in 70 C.E., officials said.
The find, announced Monday by the Israel Antiquities Authority and the Western Wall Heritage Foundation, lies just west of where pilgrims once entered the Temple Mount, offering a rare physical link to everyday life in late Second Temple Jerusalem.
The mikveh, hewn into the bedrock, measures approximately 10 feet long; 4 feet, 5 inches wide; and 6 feet, 1 inch high, with four steps leading into the bath. It was found sealed beneath a destruction layer dated to the year 70 C.E., filled with ash, pottery shards and stone vessels.
“Jerusalem should be remembered as a Temple city,” Ari Levy, the excavation director for the Israel Antiquities Authority, said in the announcement. “As such, many aspects of daily life were adapted to this reality, and this is reflected especially in the meticulous observance of the laws of ritual impurity and purity by the city’s residents and leaders.” Levy noted that stone vessels, which do not contract ritual impurity under Jewish law, were common in the area.
Heritage Minister Rabbi Amichai Eliyahu said the discovery “strengthens our understanding of how deeply intertwined religious life and daily life were in Jerusalem during the Temple period” and underlined the importance of continuing archaeological research in the city.
Mordechai (Suli) Eliav, director of the Western Wall Heritage Foundation, described the mikveh and its contents as a vivid historical testament: “The exposure of a Second Temple period ritual bath beneath the Western Wall Plaza, with ashes from the destruction at its base, testifies like a thousand witnesses to the ability of the people of Israel to move from impurity to purity, from destruction to renewal.”
Researchers say the mikveh likely served both local residents and the many pilgrims who visited the Temple in the years leading up to the Roman siege.
This article originally appeared on JTA.org.
The post Mikveh unearthed beneath Western Wall plaza shows evidence of Temple’s destruction appeared first on The Forward.
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Greece, Israel, Cyprus to Step Up Joint Exercises in Eastern Mediterranean
Israeli Prime Minister Benjamin Netanyahu (center), Cyprus President Nikos Christodoulides (left), and Greek Prime Minister Kyriakos Mitsotakis hold a joint press conference after a trilateral meeting at the Citadel of David Hotel in Jerusalem, Dec. 22, 2025. Photo: ABIR SULTAN/Pool via REUTERS
Greece, Israel, and Cyprus will step up joint air and naval exercises in the eastern Mediterranean in 2026, deepening their defense cooperation, Greek military officials and a senior source said on Monday.
The three eastern Mediterranean nations have drawn closer over the past decade through joint military drills, defense procurement, and energy cooperation, developments closely watched by regional rival Turkey.
Greece’s armed forces general staff (GEETHA) said senior military officials from the three countries signed a joint action plan for defense cooperation last week in Cyprus. It gave no further details.
The deal follows a meeting in Jerusalem between Greek Prime Minister Kyriakos Mitsotakis, Cypriot President Nikos Christodoulides, and Israeli Prime Minister Benjamin Netanyahu at which they signed a deal to strengthen maritime security cooperation and advance energy interconnection projects.
A senior Greek official familiar with the matter said the military deal would encompass joint naval and air exercises and the transfer of know-how from Israel to Greece and Cyprus to address both “asymmetrical” and “symmetrical” threats.
“Greece and Israel will intensify joint exercises after the ceasefire in Gaza, with Cyprus participating,” the official said, adding that Greece plans to join Israel’s Noble Dina naval exercise in the coming months in the eastern Mediterranean.
There was no immediate comment from the Cypriot government, but a key opposition party, the Communist AKEL, expressed misgivings. “Mr. Christodoulides proceeds to deepen military-political cooperation with Israel without considering the risks and consequences of this choice,” it said in a statement.
Greece and Cyprus have already purchased missile systems from Israel worth billions of euros. Athens is also in talks to buy from Israel medium- and long-range anti-aircraft and anti-ballistic missile systems for a planned multi-layer air and drone defense system known as the “Achilles Shield,” estimated to cost about 3 billion euros ($3.5 billion).
This month, the Greek parliament approved the purchase of 36 PULS rocket artillery systems from Israel to bolster defenses along Greece’s northeastern border with Turkey and on Greek islands in the Aegean Sea.
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Sydney to Project Menorah on Harbour Bridge During New Year’s Eve Celebration in Tribute to Bondi Beach Attack
A woman keeps a candle next to flowers laid as a tribute at Bondi Beach to honor the victims of a mass shooting that targeted a Hanukkah celebration at Bondi Beach on Sunday, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Flavio Brancaleone
The city of Sydney, Australia, changed plans on Monday for its New Year’s Eve celebration to include a projection of a menorah on Harbour Bridge in honor of the 15 victims of the Bondi Beach terror attack during Hanukkah, following pressure by Jewish-Australian cultural figures.
Sydney Mayor Clover Moore announced last week initial plans to have the Sydney Harbour Bridge pylons illuminated in white with an image of a dove with the word “peace” shortly before 9 pm on New Year’s Eve this Wednesday. The bridge would then, according to the plans, be illuminated again at 11 pm “in a warm light,” and a moment of silence would be held on the ground and during the New Year’s Eve broadcast on the network ABC. Crowds were invited to switch on their phone lights in a show of solidarity with the Jewish community.
The gesture was meant to “show the Jewish community that we stand with them, and that we reject violence, fear and antisemitism,” said Moore. “These moments will provide an opportunity for people to show respect, to reflect on the atrocity, and to say we will not let this hateful act of terror divide us.”
However, plans were changed to include a projection of a menorah on the bridge after more than 30 Jewish-Australian cultural figures published an open letter on Monday that urged Moore to project a more “Jewish-specific symbol” to commemorate the victims of the Bondi Beach mass shooting on Dec. 14, the first night of Hanukkah. They asked “that the particularism of the victims be acknowledged rather than erased,” according to ABC, which obtained a copy of the open letter.
“We believe this dignity would be afforded to the victims of any other terrorist attack that targeted a specific community. Only when we clearly name the problem of anti-Jewish hatred in Australia can we hope to overcome it,” the letter stated in part. “The selection of this word [peace], coupled with the dove, without any specific reference to the targeting of the Jewish community, prolongs our erasure and obfuscates the problem of domestic antisemitism. We acknowledge the City of Sydney’s plan as a gesture of remembrance, and agree with the need for such a gesture; however, we consider the imagery and word chosen to be insufficient as they do not acknowledge the Jewish particularity of the Bondi massacre.”
Signatories of the open letter included Pulitzer Prize winner Geraldine Brooks, ARIA award winner Deborah Conway, Archibald Prize winner Yvette Coppersmith, and members of the Sydney Symphony Orchestra. The group members also claimed their warnings about antisemitism had been overlooked by “generic calls for peace” during the last two years.
After publication of the open letter, Moore said the Harbour Bridge will project a menorah at 11 pm on New Year’s Eve, ABC reported. The co-creator of the open letter, producer and director Danny Ben-Moshe, applauded the move in a Facebook post on Monday.
The Sydney Harbour Bridge will also light up in blue at 10 pm on New Year’s Eve in recognition of the event’s official charity partner Beyond Blue, which provides free mental health support.
“This New Year’s Eve offers a chance for people to pause, acknowledge the pain, remember those affected, and extend care and support to one another and especially the Jewish community,” said Beyond Blue CEO Georgie Harman in a released statement. “When something like this happens, it doesn’t just impact the people who were there — it ripples through families, communities, and across the country, and it’s normal to feel unsettled or distressed. Staying connected is an important step towards healing after a traumatic event and social support is one of the most meaningful things we can offer and receive right now. You don’t need to go through anything alone and it’s never too early to reach out to us if you’re struggling.”
At midnight on New Year’s Eve, there will be 12-minute fireworks show in Sydney including from six city rooftops, Sydney Harbour Bridge, and Sydney Opera House.