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Jewish community groups host Afghan, Ukrainian evacuees for Thanksgiving meals
(JTA) — Four and a half feet of snow had just fallen on East Aurora, New York, but Kim Kaiser and her fellow volunteers through Jewish Family Services of Western New York weren’t willing to compromise on their Thanksgiving plans.
Those plans involved joining a community Thanksgiving feast on Tuesday night, two days before the holiday, at the Ukrainian American Civic Center in nearby Buffalo, along with the Ukrainian family of six that the volunteers had been supporting since their arrival to the United States at the end of the summer.
The event, which was sponsored by the Buffalo branch of the Ukrainian Congress Committee of America, was open to all new Ukrainian arrivals, their sponsors and their supporters. A buffet of traditional Thanksgiving foods was on offer, along with musical accompaniment by a Ukrainian singer and pianist.
For Kaiser, the evening was a can’t-miss milestone in her journey supporting recent immigrants who have come to the United States under duress. Last year, she began volunteering through Jewish Family Services to set up housing for Afghan, Congolese and Burmese refugees new to Buffalo, which has a very large refugee population.
“And then I heard of a family in our town that was going to be sponsoring a family from Ukraine,” Kaiser told the Jewish Telegraphic Agency. “My husband and I knew that we needed, that we wanted to do this.”
In joining the efforts to support refugees, Kaiser participated in an age-old Jewish tradition. The importance of welcoming strangers is so deeply rooted in Jewish tradition and experience that immigration issues have long enjoyed a bipartisan consensus in American Jewish communities even amid deep polarization on other topics. Many cities have social services agencies that began to support Jewish immigrants and now work with new arrivals of all backgrounds, often conscripting Jewish volunteers as the backbone of their work.
Over the last year, those networks have kicked into high gear as not just one but two significant waves of people unable to remain safely in their homes made their way to American shores: first Afghans last year after the U.S. military withdrawal from their country and then Ukrainians this year amid the war instigated by Russia there.
Now, as millions of Americans prepare for their Thanksgiving meals, Jewish volunteers are introducing Ukrainian and Afghan evacuees to Thanksgiving for the first time. Some are even setting aside their own reservations about the holiday to do so. (Thanksgiving’s cheery origin myth is seen by many as whitewashing the genocide of Native Americans that followed the arrival of Europeans in North America.)
In California, Gail Dratch and her husband Elliot have been volunteering through the Orange County Jewish Coalition for Refugees. They will celebrate the holiday on Thursday by inviting a family from Afghanistan into their home, where they’ll serve a halal turkey — in keeping with their Muslim guests’ religious requirements.
“For us, Thanksgiving has become just such a part of what we do,” Dratch told JTA. “And I know my family at least, we don’t think about the beginnings of Thanksgiving, which are really troubling. My daughters especially are very troubled by the original story. But clearly, this family is so thankful for having this opportunity to be in the United States.”
Both Kaiser and Dratch got support for their volunteer circles from their local Jewish federations, in Buffalo and Orange County. They were two of 15 local federations to get support from Jewish Federations of North America, an umbrella group, to resettle nearly 2,000 Afghans through refugee welcome circles, according to Darcy Hirch, a spokesperson.
Gail and Elliot Dratch stand with their partners from the volunteer circle and their evacuee family from Afghanistan, whose faces have been blurred for their safety. (Courtesy of Jewish Federations of North America.)
The Dratches have done far more than cook a special dinner. The Afghan family they are working with arrived on a Special Immigrant Visa, so the father was able to obtain a driver’s license quickly and found work almost immediately. But the mother had to learn to drive from scratch.
“She cried the first time I took her to a big parking lot just to drive around Angel Stadium,” Dratch said, referring to the stadium in Anaheim where the Los Angeles Angels play. “And when she got behind the wheel, she cried because she said it’s been a dream of hers to drive but she never thought she’d be able to, living in Afghanistan.”
The couple’s son, who is in preschool, is learning English very quickly, Dratch said.
“They’re just charming, lovely people,” she said. “It was their dream to come to the United States and raise their son here because they knew he would have far more opportunities here than in Afghanistan. And so we are thankful that this family has come into our lives because they’ve been such a gift to us.”
Dratch’s experience working with displaced people began in 2016 when she went to Greece to work with Syrian refugees.
“I think in the future people are going to look back and say, ‘Why wasn’t more done?’” she said. “And I don’t want to look back and think, ‘Why didn’t I do something?’”
In Buffalo, Kaiser’s volunteer circle takes turns running errands and sharing the duties of a host family for the parents and with four children with whom they have been working since September. Though the family has only been in the United States for a few months, Kaiser said she has noticed a big difference in the children, who she says were initially downcast and shy but are now “smiles all around.”
At the meal on Tuesday, which was set up for 200 people, Kaiser says she saw evacuees mingling with each other, delighting in speaking Ukrainian without relying on Google translate to communicate with each other, and exchanging addresses and telephone numbers with where they can be reached in the Buffalo area. The kids went back to the buffet table multiple times for dessert.
Said Kaiser, “You can tell that every time you do something for them that they are thankful that there’s somebody there to help them and that they can start feeling, finally, a little bit at ease.”
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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.”