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Israeli tensions spill over into Berlin at summit of European Jewish leaders
BERLIN (JTA) — Novelist Ruby Namdar’s appearance at a major conference of European Jewish leaders wasn’t meant to include a speech to an empty chair. But there he was on Sunday night, addressing the chair he had thought would hold Amichai Chikli, Israel’s minister for Diaspora affairs.
Chikli had been scheduled to address the summit, organized by the American Jewish Joint Distribution Committee and the European Council of Jewish Communities, but arrived too late to speak and left early Monday, amid a political crisis in Israel.
“In Israel right now under this government… our house has become rotten and corrupt,” Namdar told cheering conference attendees. “We have lost all shame in Israeli politics. It must be restored.”
Namdar, an Israeli who lives in the United States, told the Jewish Telegraphic Agency that he spoke out because he worried that others at the conference would not.
“A large part of the Jewish leaders of the world and of Europe are here, and I know that many of them, if not most, are very concerned, very worried, feel very alienated,” he said. “But they’re not able to voice it because they’re instinctively so used to supporting Israel, even though it has become harder and harder with every passing year.”
The episode reflected the degree to which Israel’s political crisis is affecting Jews abroad, even reshaping what is discussed during convenings meant to elevate Diaspora Jewish life. On Monday, the saga took a sharp turn, after a historically large protest movement forced Prime Minister Benjamin Netanyahu to delay controversial proposed reforms to the country’s judicial system.
It was the fifth edition of the summit and the first one held in person since the pandemic hit three years ago. The gathering included leaders and Jewish professionals from 35 communities across Europe and covered a broad range of topics, from how to combat antisemitism to how European Jewish communities have responded to Russia’s war against Ukraine; from gender issues to the challenges of “creating Judaism with no synagogues.”
Rates of emigration to Israel from parts of Europe have been high in recent decades, in the wake of the Ukraine war, the rise of right-wing populism and several violent antisemitic attacks by Muslim extremists and neo-Nazis. But some attendees at the conference said the recent crisis there was shaking the sense of safety that many European Jews associate with Israel.
“Democracy is a very important part in our lives especially as young leaders because we have been preached that it is such an important dogma,” Joelle Abaew, a German-Jewish teenager and member of the youth group BBYO’s international board, told JTA. “When, especially as young Jews, most of us identify with our homeland in Israel and if we don’t see that [strong democracy] there, we might question: Is that even our homeland, can we even identify with what they are doing?”
Jonathan Marcus, who is active in several Jewish organizations in Berlin, said he had seen people moving back from Israel to Germany in recent months “because of the current climate,” reflecting a trend of liberal Israelis considering emigration in response to the crisis. He also said he was worried about the religious agenda that some in Israel’s right-wing government want to advance — doing so in the language most often used to describe concerns about religious law in Europe.
“I worry on a personal level: What can I do to make sure we don’t wake up in a Jewish mullah regime?” Marcus said. “Will Israel be where my family and friends live, and be a part of my life?”
Namdar was not the only one to speak out against Chikli. A protest like the ones that have taken place across Israel and the Diaspora took place outside the conference venue, the Hilton Berlin. Inside the hotel’s dining room where Chikli was due to speak, conference guests found fliers distributed clandestinely on each table announcing that hosting him was “a slap in the face of hundreds of thousands of Israelis defending democracy for us too.”
Alexander Oscar, president of Shalom, Bulgaria’s main Jewish umbrella group, said at previous conferences he has attended it would have been unheard of to aim such statements at Israeli government officials. He said that though many European leaders are not Israeli citizens, “we all have our families in Israel and consider the state of Israel our homeland.”
“This is the first time ever I have seen this in conferences with other, you know, other countries, but never for the State of Israel.” Oscar said. “And it makes me happy, because what it says is that Israel is a democracy, and that it has a strong civil society.”
The protesting dovetails with a widening gulf he says that he and other Jewish communities in Central and Eastern Europe are finding with Israel.
“Over the past several years, we are seeing how, in various ways, the State of Israel is actually more prone to supporting the individual states in Europe, sacrificing the interests of the local Jewish communities,” Oscar said. “I’m speaking, in particular, about countries like Poland, like Hungary and Bulgaria nowadays. The local Jewish community is fighting with different groups, and even with the authorities, in terms of preventing the Holocaust distortion, and also combating antisemitism.”
“So we are ending up when the State of Israel is not defending the Jewish communities, in areas where until five, six years ago, it would have been impossible even to think of,” he added.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”