Uncategorized
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.
—
The post How the late actor Topol turned Tevye into a Zionist appeared first on Jewish Telegraphic Agency.
Uncategorized
Fate of Iran Peace Talks Uncertain as Deadline Approaches for End of Ceasefire
A view of Iranian-flagged cargo ship M/V Touska as the US Navy Arleigh Burke-class Aegis guided missile destroyer USS Spruance conducts its interception in a location given as the north Arabian Sea, in this screen capture from a video released April 19, 2026. Photo: CENTCOM/Handout via REUTERS
Iran is considering attending peace talks with the United States in Pakistan, a senior Iranian official told Reuters on Monday, following moves by Islamabad to end a US blockade of Iran‘s ports, a major hurdle for Tehran to rejoin peace efforts.
However, the official stressed that no decision had been made.
Adding to the uncertainty, a source told Reuters that Vice President JD Vance was still in the US, denying reports that he was already on his way to Pakistan’s capital Islamabad for talks.
With a two-week ceasefire set to expire this week, the senior Iranian official said Tehran was “positively reviewing” its participation but no final decision had been made. The comments conveyed a clear change of tone from earlier statements ruling out attendance and pledging to retaliate for US aggression.
The Iranian official said mediator Pakistan was making positive efforts to end the US blockade and ensure Iran‘s participation.
BLOCKADE POSES A PROBLEM
The ceasefire had appeared in jeopardy after the US said it had seized an Iranian cargo ship that tried to run its blockade and Tehran vowed to retaliate.
A Pakistani security source said Pakistan’s key mediator, Field Marshal Asim Munir, had told US President Donald Trump the blockade was an obstacle to talks, and that Trump had promised to consider ending it.
The US was hoping to start negotiations in Pakistan shortly before the ceasefire expires, with sweeping security preparations under way in Islamabad.
However, Iran‘s President Masoud Pezeshkian said that “unconstructive & contradictory signals from American officials carry a bitter message; they seek Iran‘s surrender.”
“Iranians do not submit to force,” he added on X.
US-IRAN CEASEFIRE SET TO EXPIRE
Trump announced the two-week ceasefire with Iran on April 7, and has not specified when precisely it ends.
A Pakistani source involved in the talks said it would expire at 8 pm ET on Wednesday, which would be midnight GMT or 3:30 am Thursday in Iran.
The US has maintained its blockade of Iranian ports, while Iran lifted and then reimposed its own blockade of the Strait of Hormuz, which typically handles roughly one-fifth of the world’s oil and liquefied gas supply.
Oil prices rose around 5% as traders remained fearful that the ceasefire would collapse. Traffic through the Strait of Hormuz was at a virtual standstill with just three crossings in the space of 12 hours, according to shipping data.
US MARINES BOARD IRANIAN VESSEL
The US military said it had fired on an Iranian-flagged cargo ship headed towards Iran‘s Bandar Abbas port on Sunday after a six-hour standoff, disabling its engines. US Central Command released video showing Marines descending ropes from helicopters onto the vessel.
The vessel is likely to have been carrying what Washington deems dual-use items that could be used by the military, maritime security sources said on Monday.
Iran‘s military said the ship had been traveling from China and accused the US of “armed piracy,” according to state media. They said they were ready to confront US forces over the “blatant aggression,” but were constrained by the presence of crew members’ families on board.
China, the main buyer of Iranian crude, expressed concern over the “forced interception,” and Chinese President Xi Jinping called for ships to resume passage through the strait as normal and for the conflict to be resolved through political and diplomatic channels, state news agency Xinhua reported.
Trump warned on Sunday that the US would destroy every bridge and power plant in Iran if it rejected his terms, continuing a recent pattern of such threats.
Iran has said that if the United States were to attack its civilian infrastructure, it would strike power stations and desalination plants in its Gulf Arab neighbors.
PREPARING FOR TALKS THAT MIGHT NOT HAPPEN
Pakistan geared up to host the talks despite uncertainty over whether they would go ahead. Nearly 20,000 security personnel have been deployed across the capital Islamabad, a government official and a security official said.
The US and Israel launched strikes against Iran on Feb. 28, in part to prevent the regime from developing nuclear weapons.
Trump said on Monday he believed a nuclear deal the US is currently negotiating with Iran will be better than a 2015 international agreement to curb Tehran’s nuclear program.
“The DEAL that we are making with Iran will be FAR BETTER than the JCPOA, commonly referred to as ‘The Iran Nuclear Deal‘,” Trump wrote in a social media post.
During his first White House term, Trump in 2018 withdrew from the Joint Comprehensive Plan of Action agreed to by Iran, the United States and world powers, calling it “the worst deal ever.”
“I am under no pressure whatsoever, although, it will all happen, relatively quickly!” Trump added in his Truth Social post.
Uncategorized
The Strokes End Coachella Set With Video Montage to Denounce US, Israel Bombings in Iran, Gaza
Part of the video montage shown by The Strokes during their Coachella set on April 18, 2026. Photo: YouTube screenshot
The American rock band The Strokes ended their performance on Saturday night, during the second weekend of the Coachella music festival, by showing the audience a video montage denouncing recent bombings in the Gaza Strip by Israel and joint US-Israel military airstrikes in Iran.
Massive screens behind Coachella’s main stage displayed footage of a controlled demolition of a large building in Gaza and an accompanying caption said the structure was the “last university standing” in the enclave. The footage followed scenes of destruction in the Islamic Republic with the caption “Over 30 universities destroyed in Iran.” The video montage was not included in the band’s set during the first weekend of Coachella.
Before turning to footage from the Middle East, the montage showed images and messages that accused the CIA of being involved in overthrowing governments and assassinating leaders in foreign countries. The video mentioned the separate plane crashes in 1981 that killed Panamanian President Omar Torrijos and Ecuador’s President Jaime Rondos, as well as the overthrowing of Iranian Prime Minister Mohammed Mossadegh in 1953, Guatemala’s President Jacob Arbenz in 1954, Congolese Prime Minister Patrice Lumumba in 1961, Chilean President Salvador Alende in 1973, and Bolivian President Juan Torres in 1976.
The video montage also promoted the conspiracy theory that the US was involved in the assassination of civil rights leader Martin Luther King Jr. The Strokes showed his image and a caption that read: “US govt found guilty of his murder in civil trial.” The mentioned trial, King v. Jowers, took place in 1999, but in 2000, a review by the US Justice Department found no credible evidence to validate the jury’s verdict. The video also showed images of slavery in the US and Black Lives Matter protests.
The video montage was displayed as The Strokes performed their song “Oblivius” for the first time in 10 years and the second time ever in concert. As the clip played for the audience, the band’s lead singer, Julian Casablancas, kept repeating the same lyrics in the song’s chorus: “What side you standing on?”
For those not attending the set in-person, their performance was available to watch live on Coachella’s official YouTube channel. The video montage and the band’s performance of “Oblivius” was not included in the band’s Coachella weekend one performance on April 11.
The Strokes is made up of Casablancas, Nick Valensi, Albert Hammond Jr., Nikolai Fraiture, and Fabrizio Moretti. In 2021, Casablancas signed a “Musicians for Palestine” open letter that asked artists to boycot Israel and publicly express solidarity with Palestinians.
The band will begin a world tour in June, and in August, they will headline the 2026 Just Like Heaven festival in Pasadena, California. The festival is produced by Goldenvoice, which also produces Coachella.
Uncategorized
Trump: Israel Never Talked Me Into War With Iran
US President Donald Trump speaks about research into mental health treatments in the Oval Office of the White House in Washington, DC, April 18, 2026. Photo: REUTERS/Nathan Howard
President Donald Trump said on Monday that Israel did not persuade him to attack Iran, after news reports that Israeli leader Benjamin Netanyahu influenced the US president’s decision and criticism from right-wing commentators.
“Israel never talked me into the war with Iran, the results of Oct. 7th, added to my lifelong opinion that IRAN CAN NEVER HAVE A NUCLEAR WEAPON, did,” Trump wrote in a Truth Social post.
Trump also said “the results in Iran will be amazing” in the post, which came as the United States prepared to resume negotiations in Pakistan although Iran was undecided.
“And if Iran’s new leaders (Regime Change!) are smart, Iran can have a great and prosperous future!” Trump wrote.