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In a Ukrainian city liberated from Russia, local Jewish leaders are being accused of collaboration
(JTA) — When Russian troops poured across the Ukrainian border in March, thousands fled from the cities that would be first in their path. But in Kherson, the southern port city with strategic value to the Russians, Rabbi Yosef Itzhak Wolff decided to stay put.
His decision to remain put him in line with the philosophy of his Jewish movement, Chabad, whose rabbis typically commit to the cities where they are stationed and stay there through thick and thin.
But his decision could also cost him the ability to serve Kherson’s Jews. According to a report this week in the New York Times, Wolff is now in Germany, concerned because some in Kherson accuse him of collaborating with the Russian forces.
Meanwhile, a member of his Jewish community is facing life in prison over his actions during the chaotic early days of the war, according to the New York Times report.
Russia captured Kherson on March 2, 2022, and for months, the city suffered a brutal occupation that resulted in hundreds dead and scores more “disappeared” or tortured, according to Human Rights Watch.
Among those living in the occupied city was Wolff, an Israel-born rabbi who arrived in Ukraine nearly 30 years ago, just after the fall of the Soviet Union and Ukraine’s independence. For the past 13 years, he had presided over a Jewish community in Kherson estimated before the war at 8,000 people.
In the early days of the war, Wolff’s work to supply food, medicine and at least some semblance of a joyous Purim to his community was highly publicized.
During one trip, the Times of Israel reported, he dodged bullets shuttling food back to the city from the border with Crimea, where his brother is also a rabbi. In another, according to Chabad.org, he went out to deliver food even as Russian tanks rolled through the town.
“Despite heavy fighting in the streets of Kherson, Rabbi Yosef Wolff did not abandon his community for a moment, remaining in the war-torn city through it all and serving the local population,” Rabbi Motti Seligson, a spokesperson for the Chabad movement, told the Jewish Telegraphic Agency. He called Wolff a “true hero of the Jewish people and for people of good conscience everywhere.”
Before the Holocaust, Kherson was a major center of Jewish life, with some 26 synagogues, but now, there is only Wolff’s. And before the war, it was like Chabad centers around the world: serving a local community, but also famously welcoming to unfamiliar faces, including foreign visitors.
Rabbi Yosef Yitzchak Wolff and mayor of Kherson Volodymyr Mykolaienko light Hanukkah candles, Dec. 19, 2017, in Kherson, Ukraine. (PLes Kasyanov/Global Images Ukraine via Getty Images)
Opening the doors to newcomers took on added gravity after the war began and Russians streamed into Kherson. For much of the year, it was unclear whether Ukraine would regain control of the city, or whether it would become like Crimea and remain under Russian occupation. But last month, Ukraine liberated Kherson, generating scenes of jubilation — and putting anyone perceived as collaborating with the Russian army under suspicion.
Some of that suspicion landed on Wolff, who had allowed Russian soldiers to pray in his synagogue. The soldiers were Jewish officers who had arrived with armed guards, he told the New York Times.
In the days after liberation, he left Kherson, and Ukraine, for Germany. Now, with efforts to penalize collaborators underway, he told the newspaper that he is not sure when or if he will return.
Among those who remained in Kherson was a prominent member of the Jewish community who is now being prosecuted for his choices amid the messy reality of occupation.
Illia Karamalikov, a nightclub owner and member of Kherson’s city council, was close to Wolff, frequently allowing Chabad to use his nightclub’s space for events, the rabbi told the New York Times.
In the early days of the occupation, Kherson descended into a state of lawlessness. The Ukrainian civil administration fled ahead of the Russian forces and, after conquering the city without much resistance, Russia took little responsibility for its administration, instead sending soldiers on to other targets such as neighboring regions of Odessa, Mykolaiv, Kryvyi Rih — Ukrainian president Voldymyr Zelensky’s hometown — and ultimately, Kyiv.
Looting was rampant, and cut off from power and supply lines, the thousands of people who remained in the city faced a real risk of starvation.
It was locals who managed to bring back some semblance of order. Karamalikov helped organize a 1,200-strong community patrol to enforce curfews and watch for looters.
A boy stands with Ukrainian flag in the central square of Kherson after the city was liberated from Russian occupation, Nov. 19, 2022. (Oleksii Samsonov/Global Images Ukraine via Getty Images)
It was in that role, according to the New York Times report, that he found himself face to face with a lost and confused Russian pilot, whom his men had taken into captivity. Karamalikov held the prisoner in a utility closet in his home for a night, before ultimately making the decision to return him to the Russian forces unharmed.
That earned him a 12-page indictment from Ukraine, as he ran afoul of new laws enacted at the outbreak of the war that stipulate that “cooperation with the aggressor state, its armed formations, or its occupation administration;” are punishable as acts of collaboration under Ukraine’s criminal code.
Many of those who spoke to the New York Times said the laws don’t account for the reality of living under occupation.
“All these people who ran away are judging us,” Wolff told the newspaper. “These are cruel times.”
Through returning the soldier, Karamalikov allegedly “organized the further participation of a Russian serviceman in aggression against Ukraine,” according to his indictment.
But many in Kherson are not sure what other option they had. Karamalikov’s community watch organization was a volunteer and non-military force whose limited power involved pressing looters into doing community service. To have harmed the soldier would have made them combatants against Russia.
“We wondered later: Should we have killed the soldier and kept it secret?” one of Karamalikov’s watchmen, Andriy Skvortsov told the New York Times. “But I’ve decided no, that wouldn’t have been good.”
“With a life in his hands, I can’t imagine Illia ever killing anyone,” Wolff told the newspaper. “What he did was the most humane decision he could make.”
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The post In a Ukrainian city liberated from Russia, local Jewish leaders are being accused of collaboration appeared first on Jewish Telegraphic Agency.
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Eliya Smith says plot is what happens when you’re busy doing nothing
Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.
“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.
“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”
Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)
The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.
“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”
Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.
“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”
In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.
Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.
The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.
“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.
“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.
About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.
Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.
We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.
“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”
She has yet to write her Texas play — or her New York one.
“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.) “Until I was like 23 I was like I can only write about being 17.”
Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.
It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.
“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”
She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.
“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”
Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.
While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.
The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.
“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”
Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.
The post Eliya Smith says plot is what happens when you’re busy doing nothing appeared first on The Forward.
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Shots fired in Jewish neighborhood of Montreal
(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.
“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”
The Montreal Gazette later reported that the suspect and the civilian also were dead.
It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.
The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.
Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.
There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.
This is a developing story.
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Everyone was a fan of Clive Davis — even if they didn’t know it
Last September I spent about 30 seconds with Clive Davis in a crowded elevator.
I was in the Sony Building, having just seen a press screening of Richard Linklatter’s Blue Moon. The elevator was full of mostly young people — probably Sony employees — and some press. The doors pinged open and in stepped a man with two handlers and an adorable spaniel. I turned to a fellow journalist and whispered “That’s Clive Davis.”
Someone who knew Clive — enough to call him “Clive” — told him we’d just seen a movie about the creative breakup between lyricist Lorenz Hart and musical composer Richard Rodgers.
“Didn’t you play Janis Joplin for Richard Rodgers,” he asked Davis.
Davis replied with perfect comic timing: “Yes. He hated it.”
That anecdote tells us just how much Davis, the legendary music executive and producer who died Monday June 22 at the age of 94, changed the musical landscape.
Davis had been in the music business long enough to serve as a bridge figure between the Great American Songbook and the popular music of the latter half of the 20th Century. The artists he signed at CBS, and later Arista (he was ousted from the CBS/Columbia for allegedly using company money to finance his son’s bar mitzvah), are enduring icons even, in the case of Ms. Joplin, decades after their deaths.
But what hit me in the elevator was the feeling that not everyone there knew who he was. They did, of course, know the music: Pink Floyd, P!nk, Whitney Houston, Sly and the Family Stone, Barry Manilow, Neil Diamond, Leonard Cohen, Bruce Springsteen and Aerosmith, the very authors of “Love in an Elevator.”
It’s not overstating it to say that Davis’ influence across genres and his golden ear provided the soundtrack to American life. His own life was productive until the end.
He was in the Sony building because he was Chief Creative Officer at the company. A week before his death, the streets were thumping with a New York anthem from one of his late career discoveries: Alicia Keys.
Davis’ rise could be taught in Jewish Studies courses. Born in working-class Crown Heights, he — like Barba Streisand — was a graduate of Erasmus Hall High. He made good at NYU and got his law degree at Harvard.
He rose from the legal department at Columbia to become the company’s top tastemaker. Somewhere along the way he discovered Joplin — of a polar opposite disposition and background — and went from strength to strength.
Davis’ true triumph might have been just how adept he was at navigating everything the U.S. had to offer. The musicians he promoted had little in common save for his imprimatur.
In that elevator, which delivered us without much fuss to the lobby, there may have been people whose musical tastes gravitated to rock, R&B, jam bands, easy listening, guitar instrumentals and jazz.
Whether they knew it or not, Davis shepherded something they liked into existence. His genius was in recognizing genius.
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