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Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play
(New York Jewish Week) — When Jewish literary power couple Jonathan Safran Foer and Nicole Krauss divorced in 2014 — amid rumors that he was in love with his longtime friend Natalie Portman — it captivated the nation.
Well, maybe not the nation, but certainly the literary and media worlds, as well as the hipster set in brownstone Brooklyn. Safran Foer and Krauss were rare literary megastars, whose “extremely loud and incredibly expensive” Park Slope brownstone was the subject of numerous articles (and a hefty dose of envy) when it hit the market for $14.5 million in 2013.
Portman, of course, was an actual megastar, and when the confessional correspondence between the celebrated actress and the “Everything Is Illuminated” writer was later published in 2016 in the New York Times, it elicited a fresh round of jealousy, speculation and eye-rolls from the masses, as well as numerous journalistic “takes” on the topic.
I was a teenager at the time, and had only a vague idea of why any of this mattered. But apparently it stayed with me for nearly a decade, because when I saw “The Wanderers,” a new Off-Broadway play running at the Roundabout Theatre Company, it didn’t take long for me to make the connection between this fictional production and the very real but mysterious drama that occurred between these famous Jewish writers.
“The Wanderers,” directed by Barry Edelstein, follows two couples in two different timelines. In the present day are Abe and Sophie, secular Jews and writers who live in Brooklyn and have been together since they were teenagers. The other storyline, set in the 1970s, centers around Esther and Schmuli, a Hasidic couple living in Satmar Williamsburg. The latter are introduced to the audience on the eve of their wedding, one of the first times they’ve ever been alone together.
Throughout the play, the couples, seemingly from different worlds, try to balance their careers, personal lives, internal desires and family obligations.
Abe (Eddie Kaye Thomas) is a writer who boasts a Pulitzer Prize and several other literary awards. But he struggles with certain aspects of his life — his frayed relationships, mostly — and is hamstrung by an immense ego that is tempered only by a hefty dose of insecurity. As I watched the play, I began to feel like I knew the man, but I couldn’t quite place him. Was he just a stand-in for every genuinely talented, semi-pretentious, self-important male writer living in Brooklyn?
Abe eventually finds an outlet for his woes by striking up an email correspondence with fictional Hollywood actress Julia Cheever (Katie Holmes, the real Hollywood actress), whom he met when she came to a reading of one of his novels. Eventually, he declares his love for her — a pronouncement that essentially goes ignored by the actress. (In the play, Holmes sports a chic brunette bob not unlike a Jewish actress near and dear to our hearts.)
It became pretty clear who served as the inspiration for this play — and when I asked playwright Anna Ziegler about it, she said I was one of the few she had spoken with who had made the connection.
“In the summer of 2016, when I was writing, Natalie Portman and Jonathan Safran Foer were writing to each other in a correspondence they published in the New York Times,” she said. “She was promoting a new movie of hers, and I guess they had a previous relationship — that sparked the idea for one of the storylines in the play.”
What’s funny, Ziegler said, was that most audience members haven’t made the connection. “We haven’t really been talking about [Safran Foer and Portman] as one of the inspirations, and not many people have raised it,” she said. “I assumed that that resonance would be there for a certain percentage of the audience but, to be honest, I don’t think it’s there for the vast majority of people.”
At one point in the play, after learning his father died, Abe even says the line “Hineni, here I am,” to ground himself and calm his emotions. It’s a phrase in the Torah that usually translates to “I am ready,” which Abraham says to God before being asked to sacrifice his son, Isaac, as well as a prayer of humility chanted on Rosh Hashanah. But it’s also, possibly, a nod to Safran Foer’s 2016 novel “Here I Am.”
Neither Krauss nor Safran Foer responded to requests for comment on the play. “For people in my generation and younger, the recognition might be there, but it was also so many years ago now,” said Zielger, 44. “So I guess the only people who remember it are the people on whom it made an impact.”
Which is fine — “The Wanderers” stands on its own even if you don’t know the backstory. Plus, the themes of the play stretch far beyond infidelity: It also explores loneliness, free will and inherited family trauma.
Originally, Ziegler set out to write something about arranged marriages, specifically within the Jewish community. “I had always been kind of fascinated and beguiled by the idea of arranged marriage — thinking about what it would be like spending that first night together, that notion always kind of haunted me,” she said.
“I had these two different plays [one about Portman and Safran Foer and the other about arranged marriages], and they seemed thematically related,” she added. “At some point, I concluded that they really were two strands at the same play and so I started weaving them together.”
Ziegler chose to write about the Hasidic Jewish community in particular because she was “somewhat familiar with that culture and community,” she told me.
Still, as a secular Jew, it’s a topic she approached delicately. She hired a cultural consultant and an accent coach for the actors who were both from the community. Ziegler herself, who lives in Brooklyn, spent time in Williamsburg, and read memoirs and watched documentaries.
In the play, the Hasidic wife Esther (Lucy Freyer) struggles to be seen by her community and to feel in control of her life. She doesn’t know where to turn and wonders if she’s fulfilled her potential — as a parent, wife, human and Jew. “One of the great joys of being an actor is being able to learn and dive head first into a community that you ordinarily wouldn’t get to know,” Freyer said.
As the story unfolds, it’s revealed that Esther left the community with her infant son, who grows up to be the renowned Jewish author Abe, who marries his childhood friend Sophie (Sarah Cooper, the comic and actress who broke big with videos mocking Donald Trump). The younger couple is almost entirely secular, yet they grapple with the same search for meaning and belonging, the same doubt as to whether they’ve chosen the right path for themselves — or if it had been chosen for them.
“All five characters, not just Schmuli and Esther, are trying to figure out how can you be happy with what you have, with where you stand in your own skin,” said Dave Klasko, who plays Schmuli.
“We say in the play the Hebrew phrase, ‘Ein ba’al hanes makir b’niso,’ which [Ziegler] poetically translates to ‘We are never aware of the miracles, especially when we are inside them,’” Klasko added. “How can I, in my own life, realize the miracle that I’m living in before I’m on the other side of it?”
For Ziegler, these are very Jewish questions — and the questions of the “Xillennial” generation. “We’re left [with] the complex heritage of feeling chosen, but also self-hating,” said Ziegler, whose previous plays include “Photograph 51,” about Rosalind Franklin, the Jewish X-ray crystallographer who helped Watson and Crick crack the DNA model. “I think this is the most Jewish of my plays, and it’s funny because I’m not that religious, but I have found in my career that there seems to be a hunger for plays about Judaism.”
“At some point in my career, I began to be thought of as a ‘Jewish writer’ — for better or for worse,” she added.
Safran Foer, 46, and Krauss, 48, have also wrestled with the “Jewish writer” term, as well as the play’s big questions of identity, self-doubt and complicated family relationships. In fact, as Ziegler and the actors point out, issues of the play are universal, and have nothing to do with how famous you are, how expensive your home may be, or how strictly you adhere to religious law. The celebrity allusion — plus the chance to see an actual celebrity, Holmes — may be a reason to buy a ticket to see “The Wanderers,” but the timeless message is what will keep you in your seat.
“The Wanderers” is playing at the Roundabout Theatre Company (111 West 46th Street) through April 2. Find tickets and more information here.
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America’s oldest synagogue closed. Then an unlikely group tended its cemetery.
In 1833, Herald of the Times, a Newport, Rhode Island, newspaper, reported that the remains of Mrs. Rebecca Lopez had been brought from New York by steamboat and placed inside Touro Synagogue.
Dedicated in 1763, the building is now recognized as the nation’s oldest surviving synagogue. Newport had once been home to a thriving colonial Jewish community, but after the Revolutionary War and the city’s economic decline, that community had largely faded. The cemetery remained, and so did the synagogue. It was during that long interval of near-absence that Lopez’s funeral briefly reopened Jewish ritual life in Newport.
After prayers were read by Rabbi Isaac Seixas of New York, the body was carried to the cemetery on Touro Street, with “the clergy, town council, and a numerous concourse of spectators” joining the funeral procession. The paper noted that a Jewish ceremony had not been performed there “for the space of forty years.”
Newport’s Jewish burial ground dated to 1677. In 1822, Abraham Touro left money for the upkeep of the cemetery, the synagogue, and the street on which they stood. The fund was placed under trustees appointed by the Rhode Island legislature, and Newport’s Town Council was later authorized to use the interest for repairs.
While Newport’s Jewish population declined, the endowment ensured that the synagogue building and cemetery grounds continued to be maintained. In 1826, the Town Council reported that it had tried to repair the synagogue using the Touro fund, but could not proceed because it had not been able to obtain the keys from Shearith Israel in New York. Many of Newport’s former Jewish residents had relocated there, and the congregations had longstanding ties.
In 1842, the council contracted to enclose the synagogue lot with a substantial stone wall and an ornamental cast-iron fence, modeled on the fence around the Jewish cemetery. The work included a Quincy granite base and a gateway on Touro Street designed to correspond with the synagogue’s portico. The project cost $6,835.
The synagogue’s doors rarely opened, and often only for moments of mourning. In June 1854, Newport received the body of Judah Touro, one of the most prominent American Jews of his era, a native of the town and brother of Abraham Touro. The Herald of the Times reported that “the streets was [sic] crowded with people, the stores all closed, and the bells tolled.”
The City Council assembled at City Hall and marched in procession to the synagogue, where “thousands remained outside” during the service. At the funeral, Newport’s mayor, William C. Cozzens, spoke of the trust that had long existed between the city and local Jewish families, recalling that the synagogue and cemetery had been left in Newport’s care and maintained there “with ample means for their preservation.”
When Henry Wadsworth Longfellow visited Newport’s Jewish cemetery that same year, he wrote of the graves as “silent beside the never-silent waves.” He noticed, too, what endured there: “Gone are the living, but the dead remain,” he observed, “and not neglected.”
Newport’s preservation of Jewish sacred space was shared. Jews endowed these places and returned to bury their dead there. Christian officials repaired, protected, and publicly honored them. In this way, a Jewish inheritance was carried forward until communal life returned.
In 1883, Touro Synagogue was rededicated and a new Jewish community established in Newport. But even in the window of years when the congregation was gone, the dead were not abandoned.
The graves were kept.
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Milwaukee rabbi and son ordered to pay $1,000 to muralist who reportedly praised Hamas in court
(JTA) — A retired rabbi and his son were sentenced Wednesday in Milwaukee for having destroyed a local mural in 2024 that depicted the Star of David transforming into a swastika.
Rabbi Peter and Zechariah “Zee” Mehler were ordered to pay $1,000 total in restitution to Ihsan Atta, the property owner who had put up the mural. Peter, who pleaded no contest to a misdemeanor charge for criminal damage, was also fined $50, while Zee, who had pleaded guilty in December, was given a withheld sentence of 25 hours of community service.
The sentencing hearing took another turn when Atta, who is Palestinian, praised Hamas and walked out of the courtroom before being brought back in by deputies to finish the proceedings, according to local news reporters who were present. A transcript of the exchange could not immediately be obtained.
Zee Mehler told the Jewish Telegraphic Agency that, despite pleading guilty, he felt “vindicated.”
“What we did was illegal and needed to be answered for. But at the same time, what we saw was a very strong response from the city and the court that showed that they have no patience or time for this anti-Israel narrative,” he said. “They recognize the way that it has spread antisemitism, and they recognize the way that it’s caused so much global harm to the Jewish community.”
The case dates back to September 2024, when the Mehlers used a hammer and other tools to tear down Atta’s recently installed mural in full view of security cameras. They have long maintained that, while they understood it was illegal to destroy the mural, they did so out of concern for the safety of the local Jewish community.
Atta’s mural included the words “The irony of becoming what you once hated” surrounding a Star of David transforming into a swastika; the background of the mural appeared to depict scenes of destruction in Gaza. The Mehlers viewed the mural as incitement. At the time of their actions, it had already been condemned by local Jewish groups and the Milwaukee City Council.
In the courtroom, Zee, wearing long dreadlocks, escorted his father, who is 74 years old and has Guillain-Barre syndrome, in a wheelchair. Peter recently lost the ability to walk, his son said: “This has been a really rough few years for him.”
According to reports, circuit court judge Jack Dávila interrupted Atta when he began praising Hamas and instructed him not to make comments unrelated to the crime.
“We’re not going to solve the world’s problems with this hearing,” the judge reportedly told Atta, who apologized for his actions. In a video posted after the verdict, Atta called the proceedings a “kangaroo court” and stated, “We must have judges that are on the Epstein files, because we’ve got clowns running the courthouse.”
Atta’s actions in court, Zee Mehler said, meant “I didn’t really need to do much.”
“He was called to testify, and he absolutely buried himself,” Mehler said. “I can’t believe he said that he supports Hamas in a court, on the record. That’s a crazy thing to do.”
This article originally appeared on JTA.org.
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Chicago’s new Jewish high school plucks leader from Florida day school
(JTA) — Months after unveiling plans for a new Jewish high school in downtown Chicago, the project’s founders have found their inaugural head of school and secured a still-under-construction building ahead of its first class, slated for fall 2027.
The Davis School this week announced the appointment of Richard H. Cuenca, the current head of school at the Posnack Jewish Day School in Davie, Florida, to lead the new high school.
“A transformative builder and disciplined leader, Dr. Cuenca brings extraordinary experience and a record of meaningful achievement,” the Davis Chicago Board of Trustees said in a statement. “Davis Chicago is committed to creating an academically rigorous, values-driven Jewish high school that prepares students for top universities, meaningful Jewish engagement, and leadership in the broader world.”
For Cuenca, the move to Chicago after leading Posnack since 2011 marks a chance to build a school from the ground up in one of the country’s largest Jewish communities. The launch of the Davis School was first reported by the Jewish Telegraphic Agency last summer.
“It’s going to be a unbelievable opportunity for the Jewish community and the Chicago greater community to be able to add another asset to this amazing city,” Cuenca told JTA. “A world class city deserves a world class college preparatory Jewish high school.”
The school, set to be the only non-Orthodox Jewish high school within city limits, will feature a mix of mandatory secular and Jewish curriculum with the goal of instilling “Jewish pride, support for the State of Israel, [and a] strong connection to their Jewish identity” in its students, according to Cuenca.
“If a kid’s taking AP calculus and they don’t identify with AP calculus, you know, that’s okay, right? You have to know calculus,” Cuenca said. “But in Judaic studies, it’s much more than just content knowledge. It’s also a sense of pride, of connection, of Jewish identity that gets solidified in very formative years of a teenager, so that by time they graduate, they know exactly who they are.”
Among the classes to be offered by the school will be an “Israel advocacy course,” which, according to Cuenca, will include a survey on the history of the biblical land of Israel through the creation of the modern Israeli state.
“When you have the true knowledge, when you have that, then that is a position of strength when an 18-, 19-year-old goes on a college campus and hears, you know, other things that deviate from that truth,” Cuenca said.
The lead-up to the school’s first class comes as both private and public schools in Chicago have faced allegations of antisemitism, spurring concern and desire for an alternative among some local Jewish parents.
But while some Chicago-area parents may be drawn to the school as a refuge from rising antisemitism, Cuenca said that was not the school’s focus. Instead, Cuenca said the school was intent on “lifting people up through Jewish learning.”
“We’re not trying to respond to antisemitism,” Cuenca said. “We’re trying to offer a school of excellence that we think contributes to the success of the overall city.”
That vision has been backed by significant investment in the school. In August, Tony Davis, a lead donor to the project and the co-founder and president of Linden Capital Partners, purchased a seven-story building on East Wacker Drive for $17.5 million to house the school.
The building, which will feature a 500-seat theater, a two-story library and fully kosher cafeteria facilities, was originally developed to house a high school campus for GEMS World Academy, a Dubai-based education provider.
“Our founding vision is anchored in academic excellence, elevated by exceptional Jewish scholarship, rigorous college preparation, and the vibrant energy of the city of Chicago,” Davis and his wife, Laura, said in a statement. “Our vision is bold, and Dr. Cuenca is the leader who will build our dream into a reality.”
This article originally appeared on JTA.org.
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