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In Israel, a struggle to reconcile grief and joy as Sukkot and Oct. 7 coincide
(JTA) — On the second anniversary of the Hamas massacre, Israelis grappled with how to mark the date which overlapped with the first day of Sukkot, when Jewish tradition requires festivity.
The government postponed official remembrances until the day after the Simchat Torah holiday that bookends Sukkot rather than the Gregorian anniversary. Prime Minister Benjamin Netanyahu came under fire for initially failing to acknowledge Oct. 7 directly, writing a social media post that read simply “Happy Sukkot.”
The convergence of the festival’s religiously required joy with the memory of mass death set off a broader debate over whether celebration and grief could coexist. Some religious leaders and community groups, including the Reform movement, urged weaving remembrance into holiday rituals — lighting candles, reading names, adding prayers for the fallen — while others argued that Sukkot’s happiness should remain intact, with official mourning deferred.
Some Israelis traveled south to visit sites of the attacks, including at official memorials at some of the kibbutzes that were devastated on Oct. 7, but larger crowds were expected on Wednesday, the first of the intermediary days of Sukkot. Travel is prohibited on the first day for those who adhere to traditional interpretations of Jewish law.
Even among the bereaved, observance varied. British-Israeli Gaby Young Shalev, whose younger brother Nathanel Young, a soldier, was killed in action on Oct. 7, said her family chose to celebrate the festival with friends and relatives before turning to commemoration.
“I tried not to think about the fact that it’s Oct. 7. Because I really think it’s important that we don’t let these atrocities of Oct. 7 ruin our chagim,” she said, using the Hebrew word for Jewish festivals.
But once the holiday day ended on Tuesday evening, Young, her parents and sister Miriam went to Tel Aviv’s Yarkon Park for the Oct. 7 memorial organized by Kumu (“Rise Up”), an initiative set up by families of victims and hostages as a counterpoint to the official state ceremony.
The event was livestreamed globally and screened simultaneously at Hostages Square. It opened with released hostage Agam Berger performing the theme from “Schindler’s List” on violin. Between speeches from hostage relatives, bereaved families and released captives, well-known Israeli musicians performed on a stage that was a tableau of symbols: a burned-out car like those destroyed along the Gaza border, encircled by red crown anemones — the national flower and an emblem of remembrance — a bullet-riddled bomb shelter, and 48 suspended yellow chairs representing each hostage still in Gaza.
Singer Yuval Rafael, who survived the Nova festival massacre and later represented Israel at Eurovision, sang with Daniel Weiss, whose parents were murdered by Hamas. Zvi Zussman, father of Maj. Gen. (res.) Ben Zussman, killed in December 2023, recited the Yizkor prayer, while Elchanan Danino, whose son Ori was kidnapped and later murdered in captivity, recited the Mourner’s Kaddish.
Eurovision contestant Eden Golan addressed the livestream in English, saying the nation “had been holding its breath” for two years and calling for the release of the 48 hostages still held in Gaza. She performed “I’m Coming Home” as images of hostages filled the screen behind her. The crowd erupted in chants of “Everyone, Now,” the slogan that has become shorthand for demanding their return.
Unlike last year, the memorial was open to the general public and drew an estimated 30,000 people. In 2024, 50,000 tickets had been reserved by the public but organizers were forced to curtail attendance to the press and victims’ families amid security threats. For Young, the crowd’s size this year conveyed a collective response beyond those most directly affected.
“It’s a reminder that it’s not just about the bereaved families or the families of hostages,” she said. “The whole country is mourning.”
At last year’s memorial, Young told the Jewish Telegraphic Agency that it was the first time her brother’s death had truly sunk in. In the months before, she said, her family’s grief had been buffered by “happy” distractions — the birth of her twins, her parents’ aliyah from the United Kingdom, and the flurry of projects created in Nathanel’s memory. But as another year passed and she returned to the same spot this October, the sense of loss felt sharper. The passage of time, she said on Tuesday, had made his absence harder, not easier.
“We realize that Nathanel’s not just on a long holiday, but that he’s not actually coming back,” she said. The release last month of the army’s year-long investigation into what happened on his base that morning, she added, made the loss feel newly immediate. Still, “we live life with a lot of purpose,” she said. “We keep his spirit alive by asking, even in the most everyday situations, what would Nat do?”
Young said she resonated deeply with an image shared on stage by fellow bereaved speaker Tomer Zak, whose parents and younger brother were killed in the attacks. Zak compared herself to a tree that had lost its leaves but whose roots remained strong. For Young, the metaphor captured the tension between devastation and resilience.
“When other people look at it from the outside they’re like, how can this person continue with their lives? But the memory and the light from the person we lost, from Nathanel, makes us keep going, makes us stronger. It gives us these magic powers — you basically want to do all these things for them,” she said.
To that end, the family have set up a memorial fund in his name to support projects for youth at risk, including young people with ADHD and other forms of neurodivergence, reflecting what she described as Nathanel’s determination to overcome his own setbacks in life and help others do the same.
A few miles east in Bnei Brak, the atmosphere was strikingly different. Late at night, Hasidic music blasted from the Beit Hashem synagogue during a simchat beit hashoeva — a Sukkot celebration where worshippers dance and play music late into the night during the holiday’s midweek nights. Men in fur streimels streamed inside while children chased one another through the narrow alleys.
Asked about the tension between celebration and mourning, several attendees said they were unaware the Gregorian anniversary of Oct. 7 had arrived. Down the road, emissaries of the Chabad-Lubavitch movement had erected a roadside sukkah draped with yellow Mashiach flags — contrasting with the yellow hostage ribbons ubiquitous at the Tel Aviv memorial — and were handing cotton candy to children.
Yossi, one of the Chabad volunteers, said the date did not change their message. “We pray every day for the return of the hostages and the safe return of the soldiers. In all our daily prayers and also when we read from the Torah,” he said.
A woman in a tank top said that despite identifying herself as secular, the attack’s timing would fix the memory to the Hebrew calendar. “I can’t separate from the fact that it happened on Shabbat and also such a joyous festival — Simchat Torah. [Hamas] took that from us forever.”
In Holon, south of Tel Aviv, Eyal Golan spent the day at home. His youngest sister Shirel, a Nova festival survivor, died by suicide shortly before the first anniversary of the attacks. He could not bring himself to attend a memorial, he said, but added that looking after his two small daughters, the youngest of whom is a newborn, took precedence.
“The mental is affecting the physical,” he said of the migraines he was suffering. “I felt a sense of emptiness all day and I struggled with my own PTSD just to function.”
As the event in the Yarkon Park wrapped up, the crowd stood to sing Israel’s national anthem. For Young, the moment tied mourning to resolve. “It’s a collective grief but also a collective hope, that’s how I felt at the end of ‘Hatikvah.’ Yes, we are all grieving, but there’s something with Am Yisrael, with the Jewish people and with Israeli people. We keep going.”
The post In Israel, a struggle to reconcile grief and joy as Sukkot and Oct. 7 coincide appeared first on The Forward.
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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.
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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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