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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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Recognizing Shabbat Is Not Establishing a Religion
The backlash to President Trump’s “Shabbat 250” proclamation reveals something deeper than disagreement over a single president or a single ceremonial gesture. It reveals how uneasy a slice of American Jewish leadership has become with the public acknowledgment of a tradition that helped shape America’s moral vocabulary.
The timing matters. Since October 7th, antisemitism has surged on a scale unfamiliar to most American Jews living today – across college campuses, in major cities, on social media, in synagogue parking lots that now require armed guards and entrances fitted with metal detectors. Against that backdrop, a sitting president has used a White House proclamation to honor a core Jewish practice, to invoke George Washington’s 1790 letter to the Hebrew Congregation in Newport, and to name Haym Salomon – the Jewish immigrant financier who helped fund the Revolution – as a model of Jewish American patriotism. One might have expected the organized Jewish community to receive that gesture with something closer to unanimity. Instead, the response has split.
As eJewishPhilanthropy recently reported, the divide ran along predictable lines. Orthodox and politically conservative organizations – Chabad communities, Agudath Israel, the Orthodox Union, the Rabbinical Council of America, Young Jewish Conservatives – embraced the proclamation immediately. Progressive institutions and the Jewish Council for Public Affairs raised church-state concerns. The fault line itself is worth noticing. It tracks, with unsettling precision, which segments of American Jewry still feel confident about Jewish practice in public and which have grown uneasy when Jewish tradition appears outside the synagogue.
The critics’ anxieties are not frivolous. Jewish history is full of governments that used religion coercively and turned on the minorities they once flattered. American Jews were right to be cautious about religious majoritarianism in the past, and a cautious American Jewish political tradition has long taken that lesson seriously. But caution becomes distortion when even symbolic recognition of Jewish practice is treated as a constitutional threat.
The most serious version of the objection comes from Amy Spitalnick, CEO of the Jewish Council for Public Affairs, who warned in the eJP piece that when church-state lines blur, “one day you’re in and the next day you could be out.” The worry deserves a real answer, not dismissal. But Spitalnick herself drew the right distinction in the same interview. A government celebration of Jewish identity and practice, she said, “is very different than trying to utilize the government to advance a specific approach to religion.”
A proclamation honoring rest, gratitude, and the Jewish American contribution to the national story falls squarely on the first side of her line. It establishes no theology. It privileges no denomination. It requires nothing of anyone. It is ceremonial recognition: the same category as presidential Hanukkah candle-lightings, Ramadan iftars, Easter messages, and Thanksgiving statements that have rolled out of the executive branch for generations. The American constitutional order does not require a public square emptied of faith; it requires a public square open to all of them. A president who honors Shabbat one season and hosts an iftar the next is not establishing a religion. He is doing what American presidents have done since Washington: recognizing that the country contains many traditions and that none of them needs to be hidden to be American.
A different objection comes from Rabbi Amichai Lau-Lavie of Lab/Shul, who wrote that we should observe Shabbat “not because a leader commanded it, but because our humanity demands it.” That is a theological worry, not a constitutional one, and it deserves a theological answer. Trump has commanded nothing. All he has done is acknowledge that Shabbat exists, that millions of Americans keep it, that the country is better for the practice.
One can hold separate concerns about this president’s habit of telling Jews how to be Jewish. Those are concerns about a man. They are not an argument against the proclamation. The principle would be right whether the proclamation came from this president or any other, and an American Jewish community that could only accept public recognition from presidents it liked would not be defending the Constitution. It would be practicing politics.
The deeper problem with the church-state framing is that it gets American Jewish history almost exactly backward. American Jews did not flourish because the public square was scrubbed of faith. They flourished because the public square was open to faith – to all faiths -and because the founding promise of religious liberty was extended to a people who had never before been treated as full citizens anywhere in Christendom. Washington’s letter to Touro Synagogue, which the proclamation invokes, did not promise the Newport congregation that religion would be banished from American life. It promised them that the new republic would “give to bigotry no sanction, to persecution no assistance” and that the children of the stock of Abraham would sit safely under their own vine and fig tree. That is not the language of secularism. It is the language of religious confidence extended to Jews as Jews.
The Jews who arrived in America did not ask for invisibility. They asked for equality, and America’s founding promise made that claim possible in a way nearly no other country had. Haym Salomon – born in Poland, jailed by the British, dead in poverty at forty-four after pouring his fortune into the Continental cause – did not finance a revolution so that his descendants could ask the public square to please not mention Jews. The American Jewish bargain has always been the opposite: be visible, be present, be unembarrassed about being Jewish in public, and the country will be the better for it. The First Amendment was designed to prevent a national church. It was never designed to scrub religion from American public life. Covenant, human dignity, moral obligation, liberty under law, the sanctity of conscience; none of it appeared from nowhere. Recognizing that inheritance is not theocracy. It is historical literacy.
It is worth saying plainly what Shabbat is, because much of the anxious commentary proceeds as though the underlying practice were a minor ritual rather than one of the central institutions of Western civilization. Shabbat is the weekly insistence that human beings are not merely productive units. It is the structural refusal to let work, commerce, and noise consume the whole of life. It builds in, by law and by habit, a day for family, for study, for rest, for gratitude and for the things that markets cannot price and bureaucracies cannot manage. The Jewish tradition holds that Shabbat sustained the Jewish people through exile, dispersion, and persecution: more than the Jews kept Shabbat, Shabbat kept the Jews.
That a weekly cessation might be good for an entire country – and not merely for Jews – is not a controversial proposition. It is one of the most quietly radical contributions the Jewish people have made to human civilization. A country drowning in screens, in noise, in the demand to be always available, might reasonably want to pause and acknowledge the institution that taught the West how to stop.
The split inside the American Jewish community over “Shabbat 250” is, in the end, a split about confidence. The progressive instinct to guard the church-state line is the right instinct, applied to the wrong case; the Jews who worry about state-favored religion are reading from the correct historical script, only on the wrong stage. The Orthodox and conservative Jews who embraced the proclamation did so because they still feel ownership over Shabbat; because the practice is theirs, lived, and they are glad to see it honored. Some progressive leaders responded with discomfort because seeing Shabbat publicly honored by political authority now feels unfamiliar, uncomfortable, perhaps even weaponizable. That asymmetry says something painful about where parts of American Jewish life now stand in relation to their own tradition.
Recognizing Shabbat is not the establishment of religion. It is the recognition of a gift; a gift this country received from the Jewish people, and a gift it is finally, in its 250th year, pausing long enough to say thank you for. At a moment when Jews on American campuses are being told they do not belong, and Jews in major cities are being assaulted for being visibly Jewish, the proclamation says something the Jewish community badly needs to hear from the highest office in the land: you are not foreign here. You built this. The country is grateful.
The answer to that gesture is not worry. It is the lighting of candles.
Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute.
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Stacey Bosworth selected as the Forward’s next Vice President of Development
Forward Publisher and CEO Rachel Fishman Feddersen announced today that Stacey Bosworth has been selected as the Forward’s next Vice President of Development, beginning June 1, 2026.
Bosworth comes to the Forward from documentarian Ken Burns’ Better Angels Society, where she served as Chief Development Officer, leading donor strategy and philanthropic initiatives. Prior to that, she was the Director of Development and Co-Chief Advancement Officer at the Sundance Institute. At both Sundance and Better Angels, she worked with major donors and foundations such as the Emerson Collective, the Ford Foundation, the Doris Duke Foundation and others to secure funding for stories that needed to be told.
Bosworth also served as Vice President of Advancement at MacDowell Artists Residency, where she launched a journalism fellowship fund, was the president of Aaron Consulting, supporting various nonprofit organizations in fundraising strategy, and founding executive director of the Joyful Heart Foundation.
Bosworth began her career at the Workers Circle, then located in the Forward building on 33rd Street in Manhattan. She is also on the board of The Old Stone House in Brooklyn, where she lives.
The post Stacey Bosworth selected as the Forward’s next Vice President of Development appeared first on The Forward.
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Despite Rule Changes, Israel Proved the Haters Wrong at Eurovision
Noam Bettan, representing Israel, performs “Michelle” during the Grand Final of the 2026 Eurovision Song Contest in Vienna, Austria, May 16, 2026. REUTERS/Lisa Leutner
The crowd in Austria booed when it was announced that Israel was in the lead, with only several countries remaining to receive audience votes, in this year’s Eurovision competition.
Noam Bettan’s song “Michelle” — in Hebrew, French, and English — was without a doubt the best song in the competition. But The New York Times had written a disgusting hit piece about how Israel spends a lot of money on its Eurovision entry, while not mentioning anything about the efforts and spending of other countries in the competition. Spain, Slovenia, Iceland, Ireland, and the Netherlands boycotted the competition.
It also made Jew-haters nervous that traditionally, the country that wins hosts Eurovision the next year — meaning that if Israel won, the competition could have come to Jerusalem or Tel Aviv.
Ultimately, Bulgaria was the surprise winner with the nonsense song “Bangaranga!” performed in English by Dara. It’s fun in a campy way, but seems more like a sketch song from a comedy show than a song that should win Eurovision.
Bettan’s “Michelle” showed off his powerful voice, and the song got bigger and better as it went on.
I thought that Finland had the second best song after Israel, with “Liekinheitin” performed by Pete Parkkonen with Linda Lampenius on violin. The country finished sixth. Australia’s Delta Goodrem impressed with “Eclipse,” in what was the third best song of the competition, though the country was awarded fourth place.
Countries in the grand finale were awarded a jury vote (by a panel of professionals) and the televote-countries got 12 votes if they were the top vote getter from another country, with other points if they were in a country’s top 10.
Those voting on their phone or online could not vote for someone from their own country. The rules changed from last year so that each person could vote 10 times, as opposed to last year’s 20. Some critics of Israel online hoped this rule change might limit Israel’s ability to have a strong finish. There was also a “Rest of The World Vote” factored in.
Israel was in the lead with a total of 343 points, 220 from the public and 123 from the jury. With Bulgaria getting 204 jury points, the announcer noted that Bulgaria would need 140 points from the public to be the winner. It received an inexplicable 312 public votes. The jury gave France 144 points, Poland 133 points, Denmark 165 points, and Italy 134 points — which some saw as possible bias against Israel, though Australia’s 165 points and Finland’s 141 points, may have been due to the actual merit of the songs.
With rumors flying that Bulgaria can’t afford to have the Eurovision show in their country, there was speculation online asking if Israel would host it next year — but that sadly will never happen.
Even though Bettan finished second, it was a clear victory, as the song was great, and Israel thrived despite the new rule changes that were put in place because the public complained about last year’s pro-Israel results.
Will Bettan’s strong finish change anyone’s mind about Israel? One never knows exactly, but it doesn’t hurt to have a handsome amazing singer shine on the global stage.
This marks the third consecutive year that Israel has had a great song and performer, and finished in the top 5. Last year, Israel came in second with Yuval Raphael’s “New Day Will Rise.” She received 297 public votes, the most of any competitor, but only 60 jury points, the fewest of any in the top seven. In 2024, Israel finished fifth with Eden Golan’s “Hurricane.” She received 323 points from public votes, the second most in the competition, but only 50 from the jury, the lowest number of any in the top 10.
Israel finishing second for the second consecutive year once again shows a country that beats the odds and shows greatness.
The author is a writer based in New York.

