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Just in time for Hanukkah, an irreverent Jewish adaptation of ‘A Christmas Carol’ debuts on stage
(New York Jewish Week) — A selfish social media influencer, an all-knowing, benevolent ghost known as “Harry the Hanukkah Fairy” and “Tiny Tim” Cratchet, the good-natured ill child from Charles Dickens’ “A Christmas Carol” may seem like they all come from different worlds, but each appears as a character in “A Hanukkah Carol, or GELT TRIP! The Musical” — a show its creators hope will become a winter tradition for years to come.
For co-creators Harrison Bryan, Rob Berliner and Aaron Kenny, the lighthearted “A Hanukkah Carol” is their answer to inundation of Christmas material and cheer throughout December.
“There is a plethora of Christmas entertainment options that we get every holiday season, especially in New York City,” said Jewish actor and playwright Bryan, a native of Brooklyn. “For me, growing up, there was a sense that Hanukkah is the second-place holiday.”
His new musical, however, “feels like this is an opportunity to join the party in a way that feels authentic,” he said. “It’s just allowing the season to feel more inclusive in a city that prides itself on being a melting pot.”
The plot of “A Hanukkah Carol” centers around Chava Kanipshin, a cruel and manipulative social media influencer who hides her Jewish identity because she was bullied as a child. But on one memorable Hanukkah, Chava is visited by spirits of the past, present and future to reckon with her life’s work — namely, her pursuit of internet fame by posting mean and embarrassing videos of her friends and family — before it is too late.
It’s a very obvious Jewish take on Dickens’ 1843 novella “A Christmas Carol” — which has already been adapted into various plays, movies and more in what feels like a thousand times over. (Did anyone else suffer through the 2009 Matthew McConaughey flick “Ghosts of Girlfriends Past”?) But to remake this classic in a Jewish way feels refreshing, adding new depth by exploring themes of Jewish pride, tradition, family and tikkun olam. After all, what is “A Christmas Carol” if not a guilt trip (or, erm, a “gelt trip”) — that stereotypical purview of Jewish mothers everywhere?
Bryan claims the show is “authentically Jewish, but not exclusively,” meaning he and partners want their version of “A Christmas Carol” to be something Jews can participate in and love for themselves. At the same time, however, due to the musical’s inclusive and heartwarming holiday message, it can be appreciated by anyone.
“There’s no Hanukkah classic yet — there’s not a Hanukkah film or show that people go to see as a matter of tradition,” lyricist Berliner told the New York Jewish Week. “We have the opportunity to take our decades of Jewish life and pop culture and comedic sensibilities and love of musical theater and sense of what’s commercial and merge it all together and see how we could present something that even non-Jewish friends would love.”
Perhaps unexpectedly, the show is rife with references to “Fiddler on the Roof,” both implicitly and explicitly. For example, main character Chava, the Scrooge-like social media maven, has nearly lost her parents’ goodwill due to continually blowing them off for holidays and acting superior to them. When Chava has a visit from the ghost of Hanukkah future, she hears her father say: “She’s dead to us.” This, of course, is a callback to “Fiddler,” when protagonist Tevye says something similar when his third daughter — also named Chava — marries a non-Jew.
The creators of “A Hanukkah Carol” see their musical as “in conversation” with the classic Jewish musical. “There are no smartphones in Anatevka, but exploring what it means to be Jewish — both in a contemporary moment and looking backwards and forwards — is a core part of ‘Fiddler,’” Berliner said. “It asks, ‘what is tradition and how can we change with the times?’ Oddly, the framework of ‘A Christmas Carol’ is perfectly aligned with that.”
Bryan, for his part, describes “A Hanukkah Carol” as “Dickens meets ‘Fiddler’ meets Mel Brooks.”
The show, which had an “industry reading” at a Midtown rehearsal studio on Tuesday, has been a long time coming — the trio has been working on it since 2018, all while juggling day jobs and navigating a hiatus during the worst months of the Covid-19 pandemic in 2020.
Kenny, a composer, and Berliner, a lyricist, met as songwriters through the BMI Lehman Engel Musical Theatre Workshop, which is considered a “top training ground” for up-and-coming theater artists. The two loved working together, and wanted to find a playwright to collaborate with. Kenny, an Australian — whom the group calls their “token goy” — reached out to Bryan, whom he had worked with on his masters thesis film at NYU. Bryan immediately sent over 20 short plays he had written — “A Hanukkah Carol” rose to the top.
Berliner, who is Jewish and grew up in Westchester, was sold immediately on Byran’s “A Hanukkah Carol” script. “The reaction that I had is the reaction that we’ve experienced a lot of folks have when we tell them the title of our show, which is, ‘how does this not exist yet?’” he said. “I would have been drawn to it at any point in my life. I certainly was in this moment.”
After working together on the script and songs, the trio put out an animated “proof of concept” trailer in early 2022. When they saw how much interest the trailer garnered, they opened up a crowdfunding campaign that raised over $33,000 in a month — which will allow them to stage a one-night-only performance at The Green Room 42 (570 10th Ave.) on Sunday, Dec. 18, the first night of Hanukkah. The concert will also be livestreamed.
Meanwhile, Bryan, Berliner and Kenny are in the process of searching for a producer — whether that be for Broadway, off-Broadway or an animated or live-action movie. During the Dec. 6 reading at Ripley-Grier Studios, where an all-Jewish cohort of eight Broadway actors played the more than 80 parts in the show, steady laughter throughout and a standing ovation at the end felt like finally seeing a dream come true.
“It felt amazing,” Bryan said about the first full run-through. “The sky’s the limit!”
“A Hanukkah Carol, or GELT TRIP! The Musical” will be performed at The Green Room 42, 570 10th Ave., on Sunday, Dec. 18. Livestream also available. Tickets from $15.
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The post Just in time for Hanukkah, an irreverent Jewish adaptation of ‘A Christmas Carol’ debuts on stage appeared first on Jewish Telegraphic Agency.
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UNC Student Newspaper Publishes Tropes About Jews and Money
In May 2024, Students for Justice in Palestine poured red paint which resembles spilled blood on the steps of the South Building, an office for administrative staff and the chancellor at the University of North Carolina at Chapel Hill. Photo: UNCSJP/Screenshot
The Daily Tar Heel, the student-led newspaper of the University of North Carolina (UNC) at Chapel Hill, recently featured commentary that some view as antisemitic.
On Feb. 26, Kyle Bublic began a column by writing, “The 2022 congressional race for North Carolina’s 4th District was puppeteered by the wallet of Benjamin Netanyahu, as he whisked away the last of our previously honest lawmakers with American Israel Public Affairs Committee money.”
The American Jewish Committee explains why it is antisemitic to allege that Jews are political puppet masters:
Myths of control portray Jews as secret puppet masters, ruling over others and manipulating the world’s economies and governments. For centuries, Jews were blamed for controlling world events behind the scenes, leading “blind” leaders into wars and debt to enrich themselves and further their own hidden agenda …
The imagery of Jewish leaders pulling the strings of politicians was featured in Nazi propaganda … Antisemitic propaganda continues to spread the idea that rich or influential Jews are behind the scenes conspiring to further their plans of world domination.
It is a serious matter to state or imply that the Prime Minister of Israel is in any way financing or directing an American election. According to Congress, “Federal campaign finance law and regulation prohibits foreign money in U.S. elections.”
I reached out to five of the paper’s editors for comment. None responded.
Later in his column, the op-ed’s author repeated the antisemitic puppet master trope, writing:
While I would like to imagine Israel’s investment into Durham and Orange County was driven by their prime minister’s love for Cosmic Cantina [a local restaurant], it seems like his motivation was more nefarious. Nida Allam, Foushee’s most fearsome competitor in the 2022 election, represented everything that makes our puppet masters shudder — a principled and young candidate fighting under a truly progressive ticket.
The student column focused on the primary election in NC’s 4th Congressional district held last week between Democratic Congressional incumbent Valerie Foushee and her challenger, Durham County Commissioner Nida Allam. Israel became a major focus of this Democratic primary, with anti-Israel radicals embracing Allam.
I previously reported that in 2018, Allam tweeted, “This is the United States of Israel,” which is consistent with centuries-old antisemitic propaganda that Jews seek to dominate the world. Allam ended up issuing a public apology for her antisemitism.
The Daily Tar Heel endorsed Allam in the Nov. 3 primary. Foushee narrowly beat Allam in the election.
UNC Professor of Medicine and longtime Jewish communal leader, Dr. Adam Goldstein, told me:
It’s truly disappointing to see the UNC student newspaper endorsing a partisan description of a Congressional race in 2026 as “puppeteered by the wallet of Benjamin Netanyahu’” in 2022, with references to “Bibi’s pockets.”Such descriptions echo longstanding antisemitic tropes portraying Jews as secretly controlling political systems through money. This moves beyond criticism of a current candidate’s policies into shameful demonization of a longtime progressive Congresswoman, and those that support her, through language that is itself manipulative and corrupting.
The Daily Tar Heel’s policy page claims that it seeks “to be a leader in espousing the ethical standards of the industry [and] to serve as a beacon of journalistic integrity.” Yet, the paper fails UNC students, our community, and the people of North Carolina, by allowing these tropes about Jews and money in its pages.
Peter Reitzes writes about antisemitism in North Carolina and beyond.
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CNN Shames Itself By Shilling for Iran
Images of Iran’s new supreme leader Mojtaba Khamenei and late Iranian Supreme Leader Ayatollah Ali Khamenei are displayed at a gathering to support Mojtaba Khamenei, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 9, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
There’s a reason why the Iranian regime, which murdered thousands of its own citizens just months ago, only allowed one American network access to the country. It picked CNN, because it thought it would get coverage either that was favorable in some way, or at least not critical.
We are no longer in the era of Mike Wallace. Not long after Ayatollah Khomeini took over in 1979, Wallace interviewed him in Iran. Wallace had the guts to mention that Egyptian leader Anwar Sadat called him a disgrace to Islam and a “lunatic.” The Ayatollah responded by saying that Sadat was not a Muslim and was united with their enemies. He called for the people of Egypt to overthrow Sadat. Sadat was assassinated two years later.
Wallace sat on the floor during the interview, as did the Ayatollah, and asked if he could go visit the American hostages and talk to them. He was refused.
Back to now. CNN’s Frederik Pleitgen interviewed shopkeepers who said they were scared for their lives because there were bombs.
Of course, none of the people Pleitgen would interview are capable of criticizing the regime, or they’d be beaten or killed. Pleitgen himself might be killed if he reports anything the regime doesn’t want. The reports do include the line: “CNN operated in Iran only with government permission.” But that’s meaningless.
There is value to being on the scene in a war zone, but CNN, which gets much of its ratings from bashing Trump, will no doubt find citizens who will curse Trump. And no one they talk to will support the war in any way. Is simply putting in a line that you are reporting only with the permission of the government good enough? Do the ends justify the means in this case?
Pleitgen reported that “oil-filled rain” is falling from the sky. Is he able to report on what the true process was for the appointment of Mojtaba Khamenei as the new leader? Doubtful. What about the real number of its citizens they killed? Of course, they won’t get that. What about why they apologized for striking Gulf countries, and then continued to do so? If we won’t get any real answers to real questions, why is CNN really there — other than to do the bidding of the Iranian regime?
What is surprising is that I thought they’d send the CNN reporter to the girls school that was said to have been hit by American forces. Why not let him speak with some of the parents whose children have been killed? One would think this is exactly what Iran would want. That they have not done so raises suspicions. Was it a school not marked as a school, as part of an Revolutionary Guard Corps facility? Are there some discrepancies Iran doesn’t want the world to know?
It goes without saying that there is propaganda from every country in a war. It’s not always easy to get to the truth, and all countries only want certain information to be public. I’d like to know more about the Iranian ship sunk by America. Was it really unarmed when it was coming back from exercises with India? That’s what Iran says, but the US says that’s a lie. How about an interview with one of the 32 who survived? That would be an interesting interview.
If you’re going to report from an enemy country in war, can you at least have some unique and engaging content? It will be interesting to see if CNN decides to leave Iran, realizing their reputation will be hurt and it’s not worth it to aid an enemy’s propaganda war.
The author is a writer based in New York.
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Self-Reliance Is Israel’s Strategic Imperative
A US Marines F-35C Lightning II is staged for flight operations on the flight deck of the US Navy Nimitz-class aircraft carrier USS Abraham Lincoln in support of the Operation Epic Fury attack on Iran from an undisclosed location March 3, 2026. Photo: US Navy/Handout via REUTERS
History has taught the Jewish people many painful lessons, but perhaps the most enduring one is this: survival can never depend entirely on the goodwill of others. Alliances matter. Partnerships strengthen nations. But the responsibility for defending the Jewish state ultimately rests with Israel itself.
For decades, the alliance between Israel and the United States has been a cornerstone of Israel’s national security. This partnership has saved lives and deterred wars. Yet responsible leadership requires looking forward, not backward.
The global order is shifting. The United States faces growing domestic polarization, rising debt, and strategic competition with China that increasingly dominates its foreign policy priorities. Within parts of American political discourse, support for foreign aid in general, and Israel in particular, is no longer a consensus issue. While bipartisan support for Israel remains somewhat in place at the institutional level, the tone and intensity of the debate have changed.
This does not mean America is abandoning Israel. But it does mean that Israel cannot afford complacency.
The Jewish State was founded in the shadow of embargoes and isolation. In 1948, when the newborn nation faced invasion, it did not enjoy the luxury of dependable suppliers. Those early experiences forged a national doctrine of self-reliance. Over the decades, Israel built one of the most advanced defense industries in the world — precisely because it understood that sovereignty without military independence is fragile.
Today, Israel produces cutting edge missile defense systems such as Iron Dome, David’s Sling, and Arrow. It leads globally in unmanned aerial systems, cyber capabilities, electronic warfare, and advanced battlefield technologies. Israeli defense exports reach Europe, Asia, and the Middle East, including countries that once viewed Israel as an adversary. Innovation is not merely an economic asset for Israel. It is a strategic necessity.
However, critical dependencies remain. Israel does not manufacture its own fifth generation fighter jets. Its air force relies heavily on American platforms such as the F-35 and F-15. Certain precision munitions and key components are sourced from abroad. Moreover, financial frameworks tied to foreign military assistance inevitably create political considerations beyond Israel’s direct control.
If the geopolitical winds shift, even slightly, those dependencies could become vulnerabilities.
Recognizing this reality does not diminish the importance of Israel’s alliances. It strengthens them.
Israel must accelerate investment in domestic production of critical munitions, expand its aerospace capabilities, and secure independent supply chains for raw materials and advanced components. It must ensure that during prolonged conflict, it can sustain itself without waiting for external political approvals. This is not an act of isolation. It is an act of national responsibility.
Israel cannot gamble its security on the internal debates of other nations, however friendly they may be. The Jewish people returned to their homeland to reclaim agency over their destiny. That agency must extend to every dimension of national defense.
In a region where weakness invites aggression, strength guarantees peace. The strongest message Israel can send to both allies and adversaries is clear: we value partnership, but our security will never be outsourced.
Sabine Sterk is the CEO of Time To Stand Up For Israel.