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Learning Hebrew brought me closer to Judaism — and alienated me from Israel
(JTA) — Speaking to the media in the United States before and after his latest election as Israel’s prime minister, Benjamin Netanyahu reassured American Jews and other supporters of Israel that their widely expressed fears of the undemocratic nature of the new Israeli governing coalition were overblown and would not in fact come to pass.
Netanyahu told the New York Times that he was still at least notionally committed to a peace deal with the Palestinians and told journalist Bari Weiss that policy would be determined by him, and not cabinet ministers like the self-described “proud homophobe” Bezalel Smotrich and convicted criminal Itamar Ben-Gvir, or the haredi Orthodox parties.
Then he returned to Israel, and promptly tweeted, “These are the basic lines of the national government headed by me: The Jewish people have an exclusive and indisputable right to all areas of the Land of Israel. The government will promote and develop settlement in all parts of the Land of Israel — in the Galilee, the Negev, the Golan, Judea and Samaria.” Netanyahu was asserting absolute Jewish sovereignty over the entirety of the West Bank, with no room for Palestinian statehood — as those politicians want and as his many American Jewish critics feared he would do.
That last tweet, despite reflecting the official position of Netanyahu’s newly inaugurated government, did not attract nearly as much attention in U.S. media as Netanyahu’s previous press tour. Because unlike Netanyahu’s fluent English-language interviews with numerous American press organizations, this tweet was in Hebrew — a language in which only 22% of American Jews possess an even minimal degree of fluency.
Like many non-Orthodox American Jews, I was once one of those other 78%. I was brought up attending a Reform synagogue, and I learned how to read enough Hebrew phonetically to have a bar mitzvah ceremony, reciting my Torah portion by rote memorization. I learned the aleph bet, and a few basic words here and there, but not much more. If I read Torah or Talmud at all, it was entirely in English translation.
But unlike many non-Orthodox American Jews, I became interested in learning Hebrew as an adult, as part of a broader interest in learning more about Jewish history, and I enrolled in courses starting in college to study Biblical, Mishnaic and modern Hebrew. Eventually, after years of study, I enrolled in a doctoral program in Jewish history at the University of Chicago, where I had to pass a rigorous Hebrew proficiency exam as a prerequisite to advance to doctoral candidacy status.
In many ways, this should have made me an ideal American Jew. After all, numerous commentators have opined on the need for more American Jews to learn Hebrew, to bring us closer to both Israeli Jewish culture and to Jewish history as a whole. As one Israeli educator stated, “Once you have Hebrew, all Israeli culture can be injected into your life.”
A wide array of American Jewish philanthropists and charities have identified funding Hebrew language education for American Jews as a priority. They should see someone like me — who went from knowing barely enough Hebrew to get through my bar mitzvah to now reading Haaretz each day in Hebrew — as a success story.
Except that this call for more American Jews to learn Hebrew often comes with an embedded political assumption: that if more American Jews learned to read and speak Hebrew, we would feel more closely linked to Israel and reverse the declining support for Israel among young American Jews.
There’s even a claim that American Jews do not have the right to criticize Israel without being able to follow Israeli political discussions in the original language. Daniel Gordis, of Shalem College in Jerusalem, complained that left-wing American Jewish journalist Peter Beinart should not be taken seriously as a commentator on Israeli affairs, as Beinart apparently “cannot read those [Hebrew] newspapers or Israeli literature until it is translated.”
The assumption is clear: If American Jews do not know Hebrew, we cannot be connected to the state of Israel, nor can we truly understand the Israeli politics we might wish to opine about. If we learned Hebrew, one Israeli-American advocate wrote, we would “be more united and support Israel in spectacular ways.”
Except that in my case, the exact opposite happened. As I learned more Hebrew, I saw how Israeli Jewish politicians often spoke in different terms in English and in Hebrew, tailoring their appeals for different audiences. Netanyahu’s recent sojourn to the United States is only one example. Take Ayelet Shaked, who sounded moderate notes to English-speaking audiences on a trip to Britain, while also telling Hebrew audiences that the “Jewish” character of Israel should supersede the notion of “equality.”
Of course, there’s nothing inherently wrong with code-switching. Politicians of all kinds do that. But the fact that some Israeli politicians think they have to sound more moderate in English than in Hebrew is telling. And when I opened myself up to what some Israeli politicians say in Hebrew, such as when Netanyahu falsely spread allegations of Arabs stealing votes in the last Israeli elections, something he did in Hebrew and not in English, or when new coalition partner Itamar Ben-Gvir put up a billboard reading, “May our enemies be gone” in Hebrew next to the pictures of three Israeli left-wing politicians, two Palestinian and one Jewish, it opened my eyes to a lot of aspects of Israeli politics that some American Jews would rather not hear.
So yes, it would be good for more American Jews to learn Hebrew. It would be a positive step for more American Jews to engage more heavily with Jewish culture and history. I certainly have no regrets about my time spent studying Hebrew.
But we should be honest about what the effects of that Hebrew language education would be. It might not be to simply make more American Jews “defend Israel” against its detractors. It might mean a more honest engagement with Israeli politics as they truly are, rather than how they are presented abroad to English-speaking audiences. And for some of us, that might even push us further away.
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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.”