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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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A hypnotic new album inspired by a unique Yiddish recording
Folklore scholar Barbara Kirshenblatt-Gimblett doesn’t remember interviewing and recording the Yiddish folksinger Rose Cohen in 1968 in Toronto. But this recording may turn out to be one of the most significant ones that made it into the storied archives at the YIVO Institute for Jewish Research.
In it, Cohen sings ten songs from her childhood in the Kyiv region of Ukraine, in Yiddish, Hebrew, Ukrainian and Russian. A handful of these songs have never been found anywhere else.
Cohen, who came to Toronto after World War II, was from a dynasty of what she called khazonishe, or singing rabbis, and learned many of these songs listening to them singing in her home.
This recording became the inspiration for a new album, The Rose Cohen Experience, released last month on Borscht Beat Records. Her songs are performed here by Cantor Sarah Myerson and Ilya Shneyveys, a married couple of talented multi-instrumentalists. The duo, called Electric Rose, took nine of the ten songs Kirshenblatt-Gimblett recorded and created their own elaborate, imaginative versions of them.
In the recording, Myerson — who serves as spiritual leader and cantor at Roosevelt Island Jewish Congregation in New York City — sang them as she and Shneyveys played an array of instruments over loops, creating a surreal, hypnotic sound. Shneyveys was no stranger to this, having once been part of the Yiddish “psychedelic” rock group Forshpil.
One of the songs, Berosh Hashone (On Rosh Hashone) begins with a segment from the solemn High Holidays prayer Unetaneh Tokef, about how our destiny is determined by God, depending on what deeds we’ve done. But then there are other Yiddish verses about an unhappy woman asking her children if she should divorce their father. “We don’t have that as a Yiddish song elsewhere in the repertoire,” Myerson said in an interview. “We don’t know of that song existing in other languages either.”
The album is structured, at least at first, as an imagined narrative of Cohen’s own life. “Ikh heyb mikh on tsu dermonen” (I’m beginning to remember) possesses a driving rhythm and a powerful recollection of an immigrant in North America dreaming of going back to his wife in Europe. Even though it’s a folk song, it’s possibly autobiographical when she sings it, as Cohen’s father immigrated to Toronto before the rest of his family. Myerson and Shneyveys aimed to draw out the autobiographical aspect of this song by playing selections of the Cohen interview where she recalls where she is from and how old she is.
The song transitions to Bay mashin (At the machine), a folk song about a woman slaving over a sewing machine, looking forward to getting married after having assembled her dowry. In an interesting twist, Myerson actually uses the sound of a sewing machine throughout the track, both in recorded and live performances. It’s a small hand-crank sewing machine from the early 20th century, “possibly developed for child labor,” Myerson said.
Myerson contributed a special track, Kale Tfile (Bride’s prayer), to supplement the nine Cohen songs. Kale Tfile is taken from an excerpt of a tkhine (a Yiddish-language women’s prayer) that a woman would recite on the night before the wedding. She found the prayer in an 1897 prayerbook known as the Siddur Korban Minchah.
Myerson said she decided to include this text after trying to imagine how Cohen may have felt singing Bay mashin, where the ending indicates that the female narrator is about to marry. The words are plaintive (“O God, please hear my youthful prayer, receive my hot tears that I now spill before You”), raising the possibility that she is unhappy about the match. Myerson’s performance delivers the song in that spirit, utilizing a vocoder, a keyboard that allows her to harmonize with herself.
From here, the album drops its autobiographical train of thought and moves into a more experiential mode. Mayim Rabim (mighty waters), also known as Psalm 93 — a psalm recited during the Shabbat evening prayer service — is remarkable because, as Myerson said, “we just don’t have many recordings of women of her generation singing liturgy.” Here, we see how Electric Rose made use of ambient recordings; in this case — ocean waves from Miami Beach.
You can catch Electric Rose on their upcoming tours throughout the East Coast, California and Germany.
The post A hypnotic new album inspired by a unique Yiddish recording appeared first on The Forward.
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China Warns Against Foreign ‘Interference’ in Iran as Trump Mulls Response to Regime Crackdown
A demonstrator lights a cigarette with fire from a burning picture of Iran’s Supreme Leader Ayatollah Ali Khamenei outside the Iranian embassy during a rally in support of nationwide protests in Iran, in London, Britain, Jan. 12, 2026. Photo: REUTERS/Toby Melville
China on Monday expressed hope that the Iranian regime would “overcome” the current anti-government protests sweeping the country, warning against foreign “interference” as US President Donald Trump considered how to respond to Iran’s deadly crackdown on nationwide protests.
“China hopes the Iranian government and people will overcome the current difficulties and uphold stability in the country,” Chinese foreign ministry spokesperson Mao Ning told reporters during a press conference.
“China always opposes interference in other countries’ internal affairs, advocates that all countries’ sovereignty and security should be fully protected by international law, and opposes the use or threat of force in international relations,” she continued. “We call on parties to act in ways conducive to peace and stability in the Middle East.”
The comments came as Iran continued to face fierce demonstrations, which began on Dec. 28 over economic hardships but escalated into large-scale protests calling for the downfall of the country’s Islamist regime.
If the regime in Tehran was seriously weakened or potentially collapsed, it would present a problem for a strategic partner of Beijing.
China, a key diplomatic and economic backer of Tehran, has moved to deepen ties with the regime in recent years, signing a 25-year cooperation agreement, holding joint naval drills, and continuing to purchase Iranian oil despite US sanctions.
China is the largest importer of Iranian oil, with nearly 90 percent of Iran’s crude and condensate exports going to Beijing. Traders and analysts have said that Chinese reliance on Iranian oil will likely increase and replace Venezuelan oil after US forces captured Venezuela’s President Nicolas Maduro earlier this month.
Iran’s growing ties with China come at a time when Tehran faces mounting economic sanctions from Western powers, while Beijing itself is also under US sanctions.
According to some media reports, China may be even helping Iran rebuild its decimated air defenses following the 12-day war with Israel in June.
The extent of China’s partnership with Iran may be tested as the latter comes under increased international scrutiny over its violent crackdown on anti-regime protests.
US-based rights group HRANA said by late Monday it had verified the deaths of 646 people, including 505 protesters, 113 military and security personnel, and seven bystanders. The group added that it was investigating 579 more reported deaths and that, since the demonstrations began,10,721 people have been arrested.
Other reports gave indicated the number of protesters killed by the regime numbers well into the thousands, but with the regime imposing an internet blackout since Thursday, verification has been difficult.
Trump has said he will intervene against the regime if security forces continue killing protesters. Adding to threats of military action, Trump late on Monday announced that any country doing business with Iran will face a new tariff of 25 percent on its exports to the U.S.
“This order is final and conclusive,” he said in a social media post.
According to reports, Trump was to meet with senior advisers on Tuesday to discuss options for Iran, including military strikes, using cyber weapons, widening sanctions, and providing online help to anti-government sources.
Iran has warned that any military action would be met with force in response.
“Let us be clear: in the case of an attack on Iran, the occupied territories [Israel] as well as all US bases and ships will be our legitimate target,” Iranian parliament speaker Mohammad Baqer Qalibaf told a crowd in Tehran’s Enqelab Square on Monday, adding that Iranians were fighting a four-front war: “economic war, psychological warfare, military war against the US and Israel, and today a war against terrorism.”
However, the White House stressed that Trump hopes to find a diplomatic resolution.
“Diplomacy is always the first option for the president,” White House press secretary Karoline Leavitt told reporters on Monday.
“What you’re hearing publicly from the Iranian regime is quite different from the messages the administration is receiving privately, and I think the president has an interest in exploring those messages,” she said.
Iranian Foreign Minister Abbas Araqchi told Al Jazeera that he and US envoy Steve Witkoff have been in contact.
Trump said on Sunday the US could meet Iranian officials and he was in contact with Iran’s opposition.
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Arson Suspect Targeted Mississippi Synagogue for ‘Jewish Ties,’ Laughed During Confession: FBI
Smoldered remains of the Beth Israel Congregation’s library. Photo: Screenshot.
The suspect believed to have intentionally ignited a catastrophic fire which decimated the Beth Israel Congregation synagogue in Jackson, Mississippi has told US federal investigators he targeted the institution over its “Jewish ties,” according to an affidavit the FBI has submitted to federal court.
Stephen Pittman, the FBI said in portions of the affidavit made public on Monday, “was identified as a person of interest and ultimately confessed to lighting a fire inside the building.” The document added that Pittman, arrested on Sunday, purchased the accelerant, gasoline, with which he ignited the blaze from a gas station.
Pittman, 19, allegedly started the conflagration in Beth Israel’s library during the early morning hours on Saturday, setting off a blaze which coursed through the entire building and intensified to the extent that its flames, according to one local account, “were coming out of the synagogue’s windows.” As he carried out the act, he notified his father of it via text message, saying “I did my research,” the
According to the court filing, Pittman also told his father that he was aware of the incident being filmed by Beth Israel’s security cameras, describing them as “the best.”
“Pittman laughed as he told his father what he did and said he finally got them,” read the affidavit from Nicholas Amiano, an FBI agent in the Jackson division.
In the end, Pittman allegedly destroyed a number of Torah scrolls and caused damage so great that the building must, for now, be abandoned while authorities conclude their investigation of the incident and Beth Israel, founded in 1860, weighs a reconstruction which could takes years to complete.
The institution was once targeted by the Ku Klux Klan over its rabbi’s support for civil rights for African Americans. With the latest destruction, some 150 families will be left without the only Jewish house of worship in the city.
“As Jackson’s only synagogue, Beth Israel is a beloved institution, and it is the fellowship of our neighbors and extended community that will see us through,” Beth Israel president Zach Shemper said in a statement. “We are a resilient people. With support from our community, we will rebuild.”
Jackson Mayor John Horhn, a Democrat also issued a statement, saying, “Acts of antisemitism, racism, and religious hatred are attacks on Jackson as a whole and will be treated as acts of terror against residents’ safety and freedom to worship. Targeting people because of their faith, race, ethnicity, or sexual orientation is morally wrong, un-American, and completely incompatible with the values of this city.”
He added, “Jackson stands with Beth Israel and the Jewish community, and we’ll do everything we can to support them and hold accountable anyone who tried to spread fear and hate here.”
Reactions to the suspected hate crime poured in from major Jewish civil rights organizations across the country, with Anti-Defamation League (ADL) chief executive officer Jonathan Greenblatt saying, “An attack on any synagogue is an attack on all Jews.” The American Jewish Committee (AJC) called the fire a “hateful act” that “is only the most recent symptom of the dangerous rising antisemitism facing Jewish communities across the country and around the world.”
For several consecutive years, antisemitism in the US has surged to break “all previous annual records,” according to a series of reports issued by the ADL since it began recording data on antisemitic incidents.
The ADL recorded 9,354 antisemitic incidents in 2024 — an average of 25.6 a day — across the US, providing statistical proof of what has been described as an atmosphere of hate not experienced in the nearly fifty years since the organization began tracking such data in 1979. Incidents of harassment, vandalism, and assault all increased by double digits, and for the first time ever a majority of outrages — 58 percent — were related to the existence of Israel as the world’s only Jewish state.
The Algemeiner parsed the ADL’s data, finding dramatic rises in incidents on college campuses, which saw the largest growth in 2024. The 1,694 incidents tallied by the ADL amounted to an 84 percent increase over the previous year. Additionally, antisemites were emboldened to commit more offenses in public in 2024 than they did in 2023, perpetrating 19 percent more attacks on Jewish people, pro-Israel demonstrators, and businesses perceived as being Jewish-owned or affiliated with Jews.
The FBI disclosed similar numbers, showing that even as hate crimes across the US decreased overall, those perpetrated against Jews increased by 5.8 percent in 2024 to 1,938, the largest total recorded in over 30 years of the FBI’s counting them. Jewish American groups have noted that this rise in antisemitic hate crimes, which included 178 assaults, is being experienced by a demographic group which constitutes just 2 percent of the US population.
“This latest deplorable crime against a Jewish institution reminds us that the same hatred that motivated the KKK to attack Beth Israel in 1967 is alive today,” the Florida Holocaust Museum said in a statement shared with The Algemeiner on Monday. “Antisemitism are still trying to intimidate Jews, drive them out of public life, and make houses of worship targets of violence instead of place of safety and community.”
It added, “With your help we can resist this evil. The more society understands about the nature of antisemitism, including the Holocaust, the better prepared it will be to identify and reject anti-Jewish bigotry. May Beth Israel’s Holocaust Torah, which survived the fire, inspire us all to stand up for each other and create a more just and accepting world.”
Follow Dion J. Pierre @DionJPierre.