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Long-delayed Pittsburgh synagogue shooting trial to begin Monday, igniting pain, fear and hopes for closure
(JTA) — Every Thursday, Brad Orsini gets on a conference call with dozens of other security specialists who, like him, focus on preventing threats to American Jews. But in a few days, and for the coming months, the conference call won’t just address the dangers of the present and future. It will also deal with events that occurred more than four years ago.
That’s because next week marks the beginning of the trial of the gunman who is accused of killing 11 worshippers in a Pittsburgh synagogue in October 2018.
Orsini, who oversaw the city’s Jewish communal security on the day of the attack in the neighborhood of Squirrel Hill, hopes to find a sense of closure in the alleged shooter’s prosecution. But he also knows that the trial threatens to broadcast the white supremacist ideas that lay behind the attack, and continue to pose risks for Jewish communities. And he worries that, in addition to providing a possible pathway for survivors and victims’ families to move into the future, it could also thrust them back into a painful past.
“It’s long overdue,” Orsini said. “This has been looming large over the Pittsburgh community and, quite honestly, the Jewish community in the nation. We’re all looking toward finishing this trial and prosecuting this actor for what he did.”
At the same time, he added, “This trial is going to reopen wounds that this community has suffered for almost five years now, and it’s going to have the ability to retraumatize many people in the community. And we have to be concerned about that.”
Beginning on Monday, those countervailing emotions and expectations will come to bear as the deadliest antisemitic attack in American Jewish history is litigated in court. The trial, which will begin with jury selection, is expected to last about three months. Few doubt the guilt of the accused shooter, Robert Bowers, whose name is hardly uttered by Jewish residents of Squirrel Hill. But what remains unclear is what the trial will mean for American Jews — and for the families most directly affected by the attack.
Some hope for the defendant to get the death penalty — even though that will mean prolonging the legal ordeal — while others have advocated against it. Some hope for the trial to shed light on the threat of white supremacy, even as renewed attention on the attack could inspire other violent extremists. And some hope the trial will help them move past the tragedy, even as they know it will be difficult to hear the details of the shooting laid out in court.
“The country is going to have to undergo this unprecedented trial of the country’s worst mass killer of Jews,” said Jonathan Greenblatt, CEO of the Anti-Defamation League. “It’s going to be really hard, so I think our community is really going to have to buckle down and brace ourselves.”
The attack on Saturday morning, Oct. 27, 2018, killed 11 people from three congregations, all of which met at the same building, and injured six others, including four police officers. The defendant faces 63 criminal charges, including hate crimes and murder charges. He has pleaded not guilty. The prosecution is seeking the death penalty — a choice some relatives of victims are vocally supporting. Previously, leaders of two of the three congregations that suffered the attack had opposed the death penalty in this case.
“This massacre was not just a mass murder of innocent citizens during a service in a house of worship,” Diane Rosenthal, sister of David and Cecil Rosethal, who died in the attack, told local journalists, according to reporting by the Pittsburgh Union Progress. “The death penalty must apply to vindicate justice and to offer some measure of deterrence from horrific hate crimes happening again and again.”
For the survivors and families of victims, the trial will likely be especially painful. Some told the Pittsburgh Jewish Chronicle that they intend to take time off work, delay a vacation or be away from family for an extended period of time to be present at the proceedings.
“I want to see justice happen, but at the same time, I hate to think about the families having to potentially see images of what happened and things of that sort,” Steve Weiss, who survived the attack, told the weekly Jewish newspaper. “I’m sure they have mental images, but to have to actually see photos of victims and things of that sort I think can really be difficult for them.”
One thing few people question is the shooter’s guilt, despite his plea of not guilty. He offered to plead guilty in 2019 in exchange for taking the death penalty off the table, but prosecutors, determined to pursue capital punishment for the crime, rejected the plea.
It was the same thing that had happened in the case of the man charged with killing nine Black worshippers in a Charleston, South Carolina, church in 2015. But there, despite the rejected guilty plea, the trial took place a year and a half after the attack, and the shooter was sentenced to death. (In an illustration of the length of death penalty cases, his latest court proceeding happened in October, and he has not yet been executed.)
In contrast, the Pittsburgh trial is not starting until four and a half years after the shooting there. Part of the reason for the delay stems from the work of the defense team, which has pushed back the trial through various court filings. The alleged shooter’s lead attorney, Judy Clarke, has defended a series of high-profile attackers: the Unabomber, the attacker in the 1996 Atlanta Summer Olympics bombing and the Boston Marathon bomber, among others. According to Pittsburgh’s local CBS affiliate, her singular goal is to avoid the death penalty for her client.
But in many other ways, the parallels between the Charleston trial and this one are clear. Both concern shootings by alleged white supremacists in houses of worship, tragedies that have become gruesome symbols of a national rise in bigotry. In both, the culpability of the defendant was assumed before the trial began. Like the Pittsburgh defendant, the Charleston shooter has been lionized by white supremacists, including some who cited him as an inspiration for their own violent acts.
And in both cases, there is an understanding that a conviction does not heal the wounds opened by the shooter.
“This trial has produced no winners, only losers,” said the judge in the Charleston shooter’s trial, Richard Gergel, according to the New Yorker. “This proceeding cannot give the families what they truly want, the return of their loved ones.”
Still, some who are watching the Pittsburgh trial closely hope that it will bring new facts and connections to light. Amy Spitalnick, the executive director of Integrity First for America, a nonprofit that spearheaded a multimillion-dollar victory in a civil trial against the organizers of the 2017 far-right rally in Charlottesville, Virginia, hopes that the Pittsburgh trial illustrates the links among different white supremacist shootings — such as the attacks in El Paso, Texas; Christchurch, New Zealand; and at a synagogue in Poway, California.
Those attackers spouted similar conspiracy theories and referenced other recent violent attacks in their manifestos. Spitalnick said that the accused Pittsburgh shooter allegedly communicated with the organizers of the Charlottesville rally on the social network Gab, which is known as a haven for right-wing extremists.
“Trials like this can really be illustrative of how deep the poison of white supremacy and antisemitism goes,” she said. In the Charlottesville trial, she said, “The reams and reams of evidence… really helped pull back the curtain on what motivated the defendants, how they operated, the tools and the tactics of the movement, the conspiracy theories at its core.”
There’s also the possibility that, with the attack resurfacing the shooter’s motivations, and putting him back in the spotlight, it will act as an inspiration for other white supremacists. In the years following the synagogue shooting, Pittsburgh became a kind of pilgrimage site for the defendant’s admirers — leading to continued harassment of local Jews.
“We’re giving a platform to an individual who is a Jew hater, who wanted to kill all Jews,” Orsini said. “What does that spark in other like-minded people? We need to be very cognizant throughout this trial on what kind of chatter is going to be out there on the deep dark web, or even in open portals.”
In the face of concerns about retraumatization, Greenblatt said the ADL is preparing resources on how to discuss the trial with students and amid the Jewish community.
“To relive the horrors of, the grief of, the event — this thing being constantly in the news — it’s going to be hard to avoid, it’s going to be difficult and it could be grisly and upsetting,” Greenblatt said. “I would much prefer this trial didn’t happen — I would much prefer this crime never happened, I would much prefer that those people were all still with us today — but this is where we are.”
He added, “If there might be some ability to raise awareness among the non-Jewish population of what we’re facing, [that] would be of value.”
One potential challenge for American Jews as a whole, Spitalnick said, is that federal prosecutors don’t necessarily share the needs of Jews who will be following the proceedings. While the trial will conjure a mix of emotions for Jews locally and beyond, she said, prosecutors will be more focused on the nuts and bolts of what happened that day and the details of the accused attacker’s actions and motives.
“We’re going to probably spend a lot of time hearing from the prosecution about what motivated him, but it’s not through the lens of what we as Jews think about when we think about Jewish safety,” she said. “It’s through the lens of making the case that this guy did what he did motivated by this extremism and hate… It’s going to be very deliberate and tactical and precise, versus where we as American Jews have been thinking about this from a deeply personal, communal safety perspective.”
The deliberate and detailed work of prosecutors, however, may not be at cross purposes with the emotional needs of Jews, Orsini said. When the trial ends, he said, the establishment of Bowers’ guilt may itself prove to be transformative for how Jews relate to the tragedy, in Pittsburgh and beyond.
“The fact that this individual has not been fully brought to justice… and is not convicted yet of this mass shooting — in some way, yes, that closure and finality will be done at the end of this trial,” he said. “The community can kind of regroup and truly become resilient once this phase is over with.”
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
The post At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption appeared first on The Forward.
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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