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Israel at 75: How Israel’s political crisis took center stage at a major American Jewish conference
KIBBUTZ MAAGAN MICHAEL, Israel (JTA) — About a dozen Jewish leaders from North America and beyond clustered at the edges of a courtyard on this kibbutz by Israel’s northern coastline, standing silent as a two-minute siren rang out in memory of the country’s fallen.
Afterward, young Jews from around the world, some of whom will soon enter the Israeli military, read memorial passages and led the crowd in the singing of Israel’s national anthem. The scene, emblematic of Diaspora support for Israel, delivered the kind of feeling that the Jewish Federations of North America hoped to evoke when it held its marquee conference in Israel this week, and timed it for the country’s Memorial Day and 75th birthday.
It was also a stark contrast from the atmosphere at the conference a day earlier where — even as Jewish leaders emphasized unity in the face of adversity — it was hard to avoid the political strife over the Israeli government’s effort to significantly limit the Supreme Court’s power. A raucous session in the morning was filled with screaming, and other panels touched on hot-button issues such as Israel’s treatment of non-Orthodox Jews as well as human rights groups.
“We’re also living at a time of so many crises and so much painful brokenness,” Rabbi Marc Baker, CEO of the Boston area’s Jewish federation, said in a short address on Monday afternoon to the conference’s 2,000 attendees, while discussing the importance of Jewish learning. “It can feel like things are falling apart, like at best, as leaders, we’re just trying to hold things together.”
The drama did not exactly surprise organizers of the gathering, called the General Assembly, or GA, who had expected protesters to show up and even encouraged their cause. But it pointed to the challenge facing the Jewish Federations, which had hoped to put on a traditionally exuberant celebration of Israel despite the conflict rocking its streets.
Those traditional commemorations and festivities did happen, and sessions covered a range of issues, from racial diversity to philanthropy in Israel. But they were mixed in with anguish over the state of Israeli society, which some attendees and panelists portrayed in urgent terms.
“For the first time, at Israel’s 75th birthday, a government is trying to fundamentally alter the definition of a Jewish state,” Yohanan Plesner, president of the Israel Democracy Institute think tank, said at the tumultuous Monday morning panel, referring to efforts to restrict immigration to Israel and other proposals.
He added, “If this cluster of changes, the coalition agreements, would be implemented, I’m not sure that in the 80th year of our national birthday, the GA will decide again to conduct its event here.”
The departure from business-as-usual was evident from the get-go, when hundreds of protesters came to the gates of the conference to protest a planned speech on Sunday night by Israeli Prime Minister Benjamin Netanyahu — who canceled in the face of the demonstrations. Israeli President Isaac Herzog did speak that night.
Julie Platt, the Jewish Federations’ board president, told the Jewish Telegraphic Agency that she found out about the cancellation earlier on Sunday. Netanyahu’s office told the staff of the Jewish Federations that day of the cancellation, and the news became public shortly afterward. Netanyahu did not reach out personally to Platt or to Eric Fingerhut, the Jewish Federations’ CEO, to let them know he would not be coming.
“We were preparing for weeks and months for the opportunity to have here the duly elected prime minister,” Platt said on Monday. “We were disappointed that he wasn’t part of our celebration.”
Tensions peaked on Monday morning during a session where anti-government protesters repeatedly interrupted far-right lawmaker Simcha Rothman with shouts and chants, and in which Rothman and Plesner verbally sparred onstage. Multiple protesters were removed by security personnel, and the panel took an unplanned five-minute break to cool tempers.
“They’re our brothers, they support us,” said Erez Elach, who protested Rothman at the event, regarding Diaspora Jews. Elach is a member of Brothers and Sisters in Arms, a group made up of military reservists opposed to the judicial overhaul.
Elach said he was protesting in order to honor Diaspora Jews who were killed while serving in the Israel Defense Forces. “We lost friends who served with us, who came from those same places,” he said.
Fingerhut told JTA that the protests of Rothman were “a taste of what’s happening in Israel today,” though he added, “I don’t think anyone benefits from that kind of disruption.”
“As the GA grew closer, we knew that the judicial reform issues and the divisions it’s creating in Israel would necessarily be a significant topic,” he said. “By time we were finalizing our plans, we expected it to be a major issue, and it was.”
But he said that he still felt the conference conveyed the importance of celebrating Israel and its ties to global Jewry. “On Sunday night and Monday, we focused on Israel’s history and our contribution to that history. That was not overshadowed,” he said. The battle over the judicial overhaul, he said, “added an agenda item, but it didn’t detract in any way.”
Former Israeli Prime Minister Yair Lapid speaks at the Jewish Federations of North America General Assembly in Tel Aviv on April 24, 2023. (Courtesy of JFNA/Amnon Gutman)
Yizhar Hess, the vice chair of the World Zionist Organization, also said on Monday that things were going well — because of the arguments, not despite them. Hess pointed to the three large gatherings of establishment Jewish groups — the General Assembly, the Jewish Agency for Israel Board of Governors’ meeting and the World Zionist Congress — each of which saw fierce debates or disruption stemming from the judicial overhaul fight.
“This week has been dramatically successful particularly because it’s been so turbulent,” Hess said directly after the session with Rothman. “Zionism and the state of Israel are a subject that stirs up the Jewish people and is at the heart of the argument. That’s a good thing. … Zionism is more relevant than ever, particularly because Jews are fighting over its character.”
Bucking its usual practice of not commenting on internal Israeli politics, the Jewish Federations has made its position on the overhaul relatively clear. The group issued a statement objecting to one of the overhaul’s provisions, praised a decision to pause the legislation, said it was “awed” by the anti-overhaul protesters and organized a “fly-in” earlier this year, in which federation leaders traveled to Israel to share their concerns about the effort with Israeli officials.
Deborah Minkoff, an executive board member at the Madison, Wisconsin, Jewish federation, participated in the fly-in and said she had lobbied to exclude all politicians from the General Assembly stage. She attended sessions where anti-overhaul activists spoke and felt that being in Israel for the conference gave her an opportunity to stand with the protesters.
“I think it’s going to be easier to sell Israel to our community because of this fight for democracy,” she said. “As we articulate what it means to be a free, equitable, democratic society, I think it resonates with the community who has been critical of Israel in the past.”
Attendees gave a warm reception to Yair Lapid, the leader of the parliamentary opposition, whose easy manner suggested that he felt the crowd would be receptive to his words. “I’m happy to be here, unlike some others,” he said to laughter from the audience.
“Don’t give up on us,” Lapid told the crowd. “I know how many people here feel about this current government. I know it doesn’t represent your values. It doesn’t represent mine either. But this government isn’t all of Israel… Today, maybe more than ever, we need you to rally around us.”
But not everyone at the conference was keen to protest. Beto Guzman, a Jewish professional who came to the conference from Helsinki, said the Finnish Jewish community tends not to protest Israeli policies because, given its small size, its involved members value having a positive relationship with Israeli emissaries in the country and do not want to blame them for the government’s policies. He also objected to protesters disrupting conferences, though he said the issues at the heart of the debate should be discussed.
“In Helsinki we don’t really have any protests or anything like this, because the community is very small and everybody has their own relationship with Israel,” he said. “For us that connection is very different. We really like the people from the Jewish Agency, their emissaries, and the embassy, they are very nice to us. So for us to put what is going on in the government on them would be unfair.”
Sandi Seigel, the president of Naamat Canada, a branch of a global Jewish women’s rights organization, said she was troubled by raucous debate she saw at the World Zionist Congress, which had taken place at the end of the previous week. She particularly worries that young delegates to the congress, one of whom she recalled seeing crying, would leave disheartened by the fighting.
“It’s almost like people feel it’s an existential threat for Israel, and so you’re passionate,” she said. “But there used to be an ability to have healthy debate and say, ‘OK, we’re not going to agree on this, OK, but I respect your right to have your opinion. And I think some of that is gone.”
At the same time, Seigel does not feel that the General Assembly was too focused on the debate over the judicial overhaul, which she framed in existential terms.
“If you have something, and you don’t know, if this doesn’t get resolved, [whether] Israel will be Israel anymore, or it won’t be the Israel that I can live in — there are a lot of things to talk about, but if you don’t deal with that, you can’t talk about anything else,” she said. “Because there’s nothing left to talk about.”
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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