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Jewish orphans evacuated from Odessa to Berlin at Ukraine war’s start are headed home again
ODESSA, Ukraine (JTA) – A year after Rabbi Mendy Wolff spirited 120 children and staff away from the Mishpacha Orphanage in this war-torn country to the safety of Berlin, he is preparing to bring them home.
That’s not because the war is over — far from it. One year after Russian tanks first rolled into Ukraine, fighting grinds on and much of Ukraine has been plunged into austerity conditions.
Instead, the children of Mishpacha are headed back to Odessa because of the high cost of keeping them fed, housed and educated in Germany. Chaya Wolff, Mendy’s mother and the wife of Odessa’s chief rabbi, Avraham Wolff, said the price tag was 750,000 euros — close to $800,000 — a month. They’ll join other Ukrainians who have returned to their homeland as it became clear that the war would not end quickly.
“We could have bought seven buildings for the [Jewish] community in Odessa with that money,” she said from Odessa, where she stayed along with her husband after the Russian invasion to care for remaining Jews in the city, where the Wolff family operates Chabad of Odessa. “But now the money is finished and it’s time to bring our children home.”
Mendy Wolff said that when he first headed to Berlin several days after Russia’s Feb. 24, 2022, invasion, he expected to return home in a matter of days. He had become the orphanage’s director overnight, when his parents tasked him with getting the children out of Ukraine. He and his wife, Mushky, had instructed their charges to pack two of each item of clothing.
German President Frank-Walter Steinmeier talks with refugee children from the Jewish community in Odessa at a Chabad center in Berlin two days after their arrival as refugees, March 7, 2022. (Clemens Bilan – Pool/Getty Images)
“As I was packing, I remember spotting my Megillat Esther on the shelf and thinking I won’t be needing that because Purim is two weeks from now and we’ll be back by then,” Wolff told the Jewish Telegraphic Agency, referring to the biblical book traditionally read on Purim.
The journey to Berlin took 53 hours and traversed five international borders, but Wolff and his wife tried to make the atmosphere as fun as possible for the children.
“We sang songs all the way and even though most of the children knew what was happening, we made it feel like summer camp — only in the winter,” Wolff said.
Getting the children out of Ukraine meant pulling strings of all kinds, since most did not have passports or even original birth certificates. Most of the children in the orphanage have parents who are unable to care for them; Wolff got the parents’ permission to take the children out of the country, a challenging task in the chaos after the invasion. “That is why we didn’t escape on the first day of the war,” he told JTA from Berlin at the time.
For 40 children for whom no living relatives could be found, Rabbi Avraham Wolff and his wife, Chaya, signed on as legal guardians. The Chabad emissaries in Berlin managed to secure VIP status for the young refugees to bring them across EU borders as personal guests of German President Frank-Walter Steinmeier, who greeted them on their arrival in the German capital.
The Wolff family operates Chabad of Odessa. Rabbi Avraham and Chaya Wolff are sitting. Rabbi Mendy Wolff, who has overseen the children relocated from the group’s orphange to Berlin, is at the center in the back row. (Courtesy Chabad Odessa)
The children and orphanage staff were joined by other Odessians: university students, single mothers and their own offspring. Their flight and warm welcome in Berlin captured international headlines.
“Everyone knew there was an orphanage coming,” Mendy Wolff told JTA in Berlin shortly after the group’s arrival. “It was an unbelievable hug. It made us feel good in our hearts.”
But even then, the high cost of caring for the children in Berlin was weighing on the volunteers who leapt to help them. “We’ve received an outpouring of support from the community and beyond, lots of clothes and other supplies, but what we really need now are financial donations — only the food for all the children costs about 5,000 euros every day,” one told the Associated Press at the time.
Over the course of the next 11 months, the Hotel Müggelsee, on the banks of Berlin’s largest lake of the same name, would become home to some 300 Jewish refugees. In that time, the group celebrated not just Purim but a full year of Jewish holidays, as well as the gamut of Jewish lifecycle events, from bar mitzvahs to births and brisses. The group recently celebrated the first birthday of the youngest child to make the trek from Odessa, Tuvia, who was just 5 weeks old when he arrived in Berlin.
Jewish children from Odessa in war-torn Ukraine celebrate Purim 2022 with members of the Chabad Berlin Jewish community, March 17, 2022. (Omer Messinger/Getty Images)
For Wolff, the hardest part was grappling with the unknown. “It was very similar to what people experienced at the beginning of the coronavirus pandemic. You don’t know who it will infect or how many people will die or how long you’ll need to live like this.”
Like many others, Wolff was certain that Russian President Vladimir Putin’s army would crush Ukraine in a matter of days. “With each passing day we saw that the Ukrainians were far more resilient than we had given them credit for and that the Russians weren’t as much as superheroes as we thought.”
The irony that Germany, and not Israel, became the host country for Jewish refugees from Eastern Europe is not lost on the Wolffs. While Mendy is reluctant to express political opinions of any kind, his mother, Chaya, is more forthright, saying that Israel had refused them entry.
Mark Dovev, the regional director of Nativ, the Israeli government office that facilitates immigration to Israel from the former Soviet Union, later told JTA that taking in a minor from another country is “tantamount to kidnapping.” Brushing off Dovev’s objections, Chaya Wolff said, “Just as Germany turned a blind eye, Israel could have also taken them in temporarily as refugees.”
The children and staff of Mishpacha Orphanage in Odessa pose outside the Hotel Mugglesee in Berlin, their home for nearly a year since fleeing war in Ukraine. (Courtesy Chabad Odessa)
Since German law bans homeschooling, the children were required to enroll in a local school as well as to learn German. German authorities allowed the student body to largely adhere to the Ukrainian curriculum, however, and they were taught by a handful of the women refugees who happened to be teachers. The hotel, which functioned as a dormitory, doubled as a branch of the local Chabad school — replete with classrooms and a schoolyard.
But keeping the refugees in Berlin came at a steep price, footed by various donors such as the International Fellowship for Christians and Jews as well as private donations. An online fundraiser netted $685,500 in small gifts from more than 5,000 donors — a significant tally, but far short of its $1 million goal. So it was mostly out of economic considerations, then, that the Wolffs decided to close up shop in Berlin and bring the refugees home later this month.
While some Ukrainians who fled the country say they have no intention of returning while the war rages, the Wolffs and their charges are hardly the first Ukrainians to make their way back home. Many of them have cited the high cost of life abroad, along with separation from family and guilt about abandoning their country, for coming back to a warzone. So many Ukrainians were returning last fall that the country’s leaders urged them to wait until this spring to return, lest they tax fragile infrastructure.
Ukrainians queue at the railway station in Przemysl, Poland, to depart for Ukraine, amid a reversal in migration patterns as the Ukraine war ground on, Dec. 20, 2022. (Dominika Zarzycka/NurPhoto via Getty Images)
According to Mendy Wolff, his group would be staying in Berlin were it not for budgetary concerns. Still, he said, there were many positive aspects about the decision to return home.
“Psychologically, it’s not easy being here. You’re not living like a human. It’s like living on borrowed time and in a refugee camp, albeit a luxury refugee camp,” he said. “I’m very excited to be in my own bed and my own blankets.”
For both mother and son, the responsibility of bringing the refugees back to a country that is still very much at war weighs heavily. Odessa is faring better than many other southern Ukrainian cities like Mykolaiv and Kherson to the east, which have suffered daily shelling. Still, air raid sirens sound multiple times a day and there is no electricity for 20+ hours. But as long as residents have access to bomb shelters and generators — including the kind made from car batteries that Avraham Wolff recently held a fundraiser to buy — Chaya Wolff describes it as “livable.”
“It’s not an easy decision and we hope it’s the right one,” Chaya Wolff said. “At the end of it all, we’re ‘believers, the children of believers,’” she added, quoting the Talmud.
Toby Axelrod contributed reporting from Berlin.
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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.”