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Major address by ADL chief omits mention of Trump and followers among antisemitic threats
WASHINGTON (JTA) — In a major policy speech, Anti-Defamation League CEO Jonathan Greenblatt doubled down on his argument that anti-Zionism is antisemitism, emphasized the threat to visibly Orthodox Jews and accused The New York Times of an “antisemitic attack” in its coverage of Hasidic movements.
One topic he didn’t discuss: former President Donald Trump and his extremist supporters, a frequent topic of concern for the ADL and Greenblatt in recent years.
The speech Monday morning, at the ADL’s annual leadership summit in Washington, D.C., was remarkable for barely mentioning what has, for years, been the group’s focus: the threat from the far right, spurred in part by Trump’s ascendance. Instead Greenblatt, in prepared remarks, tacked to the center, remaining focused on a message he sounded at the same summit a year ago — that anti-Zionism is unquestionably antisemitism.
“I know that for bigots — especially those who self-style as “anti-Zionists” — Israel’s Independence Day is a day to redouble their efforts to make sure it is Israel’s last Independence Day,” he said, adding later, “To underscore what I said at this event last year: Anti-Zionism is antisemitism. Full stop.”
His speech last year drew criticism from the left for marginalizing parts of the Jewish community that criticize Israel, and for equating that sector with a stream of extremism on the other end of the political spectrum that has fueled deadly attacks on Jews.
Despite not featuring in Greenblatt’s speech, the threat from the right was nonetheless very much embedded in the conference agenda; one session was dedicated to the surge of the far right on social media and another was dedicated to ties between the the extremes of the conservative movement today and the John Birch Society, the seminal extremist movement founded in the anticommunist fervor of the mid-20th century.
The conference will culminate on Tuesday with a Capitol Hill rally against antisemitism, held together with the ADL’s traditional partners from minority, LGBTQ and civil rights groups. Its featured speakers include Susan Rice, the former national security advisor who now serves as a domestic policy advisor to the Biden administration, as well as Maryland Gov. Wes Moore, Israeli President Isaac Herzog and Reza Pahlavi, the son of the deposed shah of Iran, who has positioned himself as an advocate of Iran-Israel ties.
Greenblatt emphasized in his speech that antisemitism knows no single ideological home. He noted what the ADL has documented as an alarming spike in antisemitic attacks and that more than half of violent attacks have targeted visibly Orthodox Jews.
“This year, we find that the dramatic increase in antisemitic incidents is not due to any single ideology fueling violence, or one group becoming more accepting of antisemitism than another,” he said. “It’s due to every ideology becoming more comfortable with anti-Jewish hate.”
Since he took the ADL’s helm in 2015, Greenblatt has been under fire from conservatives for the organization’s emphasis on threats emerging from the extreme right, though the organization has always focused on far-right antisemitism. On Monday, Greenblatt’s speech touched almost exclusively on themes that have troubled Jewish conservatives: the perceived threat to pro-Israel Jews on campuses, attacks on visibly Orthodox Jews in the northeast, and defending haredi Orthodox Jews from perceived attacks on their lifestyles and education system.
Greenblatt took the New York Times to task for its series of articles reporting on deficiencies and malfeasance in Hasidic schools in New York.
“Our Orthodox brothers and sisters are constantly under threat,” he said. “It is one that needs solidarity and support from everyone – Jewish and non-Jewish alike. So to see this community singled out by elite institutions, like the New York Times, arguably the most important paper in the world, depicting them as clannish and using power to manipulate events … that represents an antisemitic attack on their community.”
Absent from his speech was any mention of Trump, although the former president is seen as the leading contender for the Republican presidential nomination in 2024 and has intensified his attacks on “globalists” and on progressive Jewish billionaire George Soros, tropes that the ADL and other groups have said fuel antisemitism. Greenblatt was outspoken last year in criticizing Trump for having dinner with Kanye West after the rapper, who now calls himself Ye, embarked on a string of antisemitic comments. That dinner also included Nick Fuentes, the Holocaust denier and far-right provocateur.
Greenblatt also didn’t mention Ye in a section of his speech on the ADL’s work with corporations, even though the ADL led a campaign last year urging Adidas to end its partnership with Ye. After Adidas ended the collaboration, it announced a partnership with the ADL.
Greenblatt began his speech by celebrating Israel on the occasion of its 75th birthday, despite what he acknowledged as “complexity, worry, anxiety and concern” about the country’s future. A large part of that concern, within the country, has centered on the debate over the government’s effort to weaken the judiciary, which has brought hundreds of thousands of Israelis to protest in the streets. Greenblatt called the protests “something really special,” and “the triumph of Zionism.” He urged compromise on the judicial overhaul.
An ADL report from two weeks ago noted another worry — that Israel’s government includes politicians who “have polluted Israeli public discourse with chilling racist expressions that would have led to the immediate termination of their political careers in other democracies.” The report added that “Jewish racism is as deplorable as other forms of racism, and should never be excused or tolerated.”
Greenblatt did not mention that concern in his speech, though he called for Israel to have “a civil society where non-Jews enjoy the same rights and fulfill the same responsibilities as their Jewish neighbors.”
“There are challenges in Israel right now – and there will be challenges and difficult conversations to come, but ADL will never waver in its support of a democratic, Jewish state,” Greenblatt said in the speech. “Israel is a miracle, and I will never apologize for being a proud Zionist.”
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Pro-Palestinian rally at Buchenwald memorial is shut down by German authorities
(JTA) — German authorities have shut down a planned pro-Palestinian vigil at the Buchenwald Nazi concentration camp memorial after a fierce outcry.
The rally was slated for April 12, marking the 81st anniversary of Buchenwald’s liberation by U.S. troops. But the city of Weimar said on Monday it would ban the event on the memorial grounds and offered a square downtown as an alternate location.
Kufiyas in Buchenwald, the group behind the campaign, announced it was challenging the ban in court. The group said it aimed to “commemorate victims of genocide and fascism” and “uplift the fundamental duty to fight against all genocides, particularly the genocide currently taking place in Palestine.”
The planned event had been heavily criticized by German leaders, such as federal antisemitism czar Felix Klein. In an interview with the Jüdische Allgemeine, Klein said he viewed the rally as “disrespectful self-promotion and a perfidious attempt to relativize the murder of over 11,000 Jews in the Buchenwald concentration camp by comparing it to Israel’s actions in the recent Gaza war.”
The campaign was also protested in a joint statement by a coalition of 17 organizations, including several Jewish communal and academic groups. They accused the organizers of “instrumentalizing the Buchenwald memorial site as a platform for anti-Jewish agitation.”
Kufiyas in Buchenwald had support from the International Jewish Anti-Zionist Network and the German group Jewish Voice for a Just Peace in the Middle East.
Rachael Shapiro, an organizer with the International Jewish Anti-zionist Network, said the memorial foundation’s “insistence on the singularity and exceptionalism of the Nazi genocide of European Jews” served to “actively provide cover for Germany’s participation in and funding of the mass murder of Palestinians.”
“As Jewish, queer and other anti-fascists, many of us the children and grandchildren of survivors of and those persecuted and murdered in the Nazi genocide, we wholeheartedly reject the German state dictating conditions around commemoration,” Shapiro said in a statement.
The event originated as a protest against a German court’s decision that Buchenwald could refuse entry to visitors who wear a Palestinian keffiyeh. Kufiyas in Buchenwald also said the memorial had suppressed other voices that criticized Israel. They cited the treatment of Israeli philosopher Omri Boehm, the grandson of Holocaust survivors and a critic of the Israeli government, who was disinvited from giving a commemoration speech at Buchenwald after pressure from the Israeli embassy in Berlin.
Kufiyas in Buchenwald said it continued to call on the memorial foundation to “openly address the genocide in Gaza” and lift restrictions on pro-Palestinian symbols and speech at the site. The group said its demands honored the “Oath of Buchenwald,” a promise spoken by survivors of the camp during a memorial ceremony on April 19, 1945.
These survivors said in six languages, “We will only give up the fight when the last guilty has been judged by the tribunal of all nations. The absolute destruction of Nazism is our device. The building of a new world of peace and freedom is our ideal.”
This article originally appeared on JTA.org.
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Argentina designates Iran’s Revolutionary Guard a terrorist organization
(JTA) — Argentina announced on Tuesday that it had designated Iran’s Islamic Revolutionary Guard Corps as a terrorist organization, a move that was quickly praised by Israeli Foreign Minister Gideon Saar.
The move stems from Argentina’s decades-long investigations into the 1992 bombing of the Israeli Embassy in Buenos Aires, which killed 29 and injured more than 200, and the 1994 attack on the AMIA Jewish center, which left 85 dead and 300 injured in what remains the deadliest terrorist attack on Argentine soil.
In a statement, President Javier Milei’s office described the attacks as “two of the most serious terrorist attacks in history, carried out in the 1990s by the IRGC’s operational arm in the region, the organization Hezbollah.”
With Tuesday’s decision, the Argentine government will now include the IRGC in the Public Registry of Persons and Entities Linked to Acts of Terrorism and its Financing, triggering financial sanctions and operational restrictions intended to curb its ability to operate in the country and safeguard Argentina’s financial system from illicit use.
The announcement by Milei, who has stood out as one of Israel’s staunchest international supporters, comes months after his office also designated the Quds Force, the foreign arm of the IRGC, as a terrorist organization in January. In recent years, Argentina has also designated Hamas and Hezbollah as terror groups.
Saar praised the move in a post on X Wednesday, writing that the designation “places Argentina, under [Milei’s] leadership, at the forefront of the free world in the fight against the Iranian regime of terror and its proxies.”
“With this decision, President Milei – one of the greatest leaders of our generation – has once again demonstrated moral clarity and an unwavering commitment to the values of freedom and the fight against its enemies,” Saar wrote.
Last month, just days into the ongoing U.S.-Israel war with Iran, Argentina issued an arrest warrant for Ahmad Vahidi, who was appointed as the head of the IRGC after its previous leader was killed in the first wave of U.S.-Israeli strikes.
Vahidi is currently the highest-ranking Iranian figure accused by the Argentine judiciary. An arrest warrant for him was first issued in 2006 in connection with the AMIA case.
This article originally appeared on JTA.org.
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This isn’t Barbra Streisand’s ‘Yentl’ — it isn’t I.B. Singer’s either
There’s an FAQ on the website of the London theater where the Kadimah Yiddish Theatre of Melbourne’s production of Yentl is running through April 16. The very first item reads:
Is this a stage version of the 1983 musical film starring Barbara Streisand?
No — the London production of Yentl is a play. It is a new adaptation of Isaac Bashevis Singer’s 1962 short story,“ Yentl the Yeshiva Boy“ — just like the Streisand film was at the time.
This explanation does more than relieve box office staff of the tedious duty of informing Mrs. Lipschitz and Mrs. Rosenblatt from the sisterhood that no, they shouldn’t come expecting to sing along to “Papa, Can You Hear Me.” It argues that this theatrical “reimagining” (to use Kadimah’s own term) of Yentl is no less authentically Singerian than the musical. It also hints at how Kadimah prevailed, against considerable odds, in adapting a story whose rights Streisand still owns and fiercely guards.
As Gary Abrahams, Kadimah’s executive director and the director of the production, recently told the Jewish Telegraph, Singer’s estate gave him their approval on the condition that it be a Yiddish language, non-musical production. The London transplant, which comes on the heels of earlier stagings in Melbourne and Sydney, is enjoying a six-week run at the Marylebone Theatre, which is housed inside of an anthroposophical center. Both the limited duration of the run and the Off West End venue were critical to securing the Singer estate’s approval.
Kadimah’s production, a bilingual Yiddish-English chamber piece that has gained a certain notoriety for featuring male and female nudity, is the latest chapter in the long and unruly afterlife of Singer’s deceptively simple tale.
In “Yentl the Yeshiva Boy,” which first appeared, in English translation, in Commentary in September 1962, a rabbi’s daughter, shut out from the Talmud learning reserved for men, cuts her hair, dons male clothing, changes her name to Anshel, finds a chavrusa, the heartbroken Avigdor, and enters a yeshiva. But Singer’s tale is considerably stranger than both that simple summary and Streisand’s popular version suggest.
Yentl is not simply a tale of female exclusion and feminist defiance. It is also a story of impersonation, erotic confusion, spiritual hunger and metaphysical trespass. Yentl does not cross one line and stop there. Once she begins living as Anshel, all the categories meant to keep life orderly — male and female, study and desire, law and transgression — begin to blur.
That instability may explain why Yentl has proved so durable. Before Streisand made it famous on screen, Singer had already adapted it for the stage in the mid-1970s together with Leah Napolin. The show opened at the Brooklyn Academy of Music in 1974 and transferred to Broadway the next year, with Tovah Feldshuh in the title role.
“As a play it is altogether too anecdotal,” wrote Clive Barnes in the 1974 Times review. “The storyline wanders on and on like a river through a landscape, but the landscape happens to be worth looking at.” Napolin, who died in 2018 (and who claimed that Singer didn’t write a single word of the script) suggested that the second wave feminism of the time made the story and its themes feel relevant to contemporary audiences.
“This dark little gender-bending tale had an impact on many people who identified, as I did, with the heroine’s struggle to reinvent herself, to redefine herself,” Napolin once told an interviewer.
Half a century later, Kadimah’s Yentl leans heavily, and not always successfully, into our contemporary discourse about sex and gender. The story reemerges in a markedly — and overtly — queerer form than in previous versions.
Streisand’s film absorbed the title character so completely into her own star persona that for many people Yentl is now synonymous with Babs, not Singer. Her approach is expansive where Singer is compressed, ardent where he is dry-eyed, and schmaltzy where he is severe. Streisand gave the story glamor, emotional clarity and uplift. It also tilted the material away from Singer’s sharper ambiguities and toward the all-American theme of becoming oneself. The film, which Streisand also directed, produced and co-wrote, even ends with Yentl aboard a ship bound for America! (In Singer, Yentl simply ups and vanishes, an ending that has been interpreted as a reference to the legend of the Wandering Jew).
Yet Streisand’s victory over the material came with at an expense. As Linda Besner notes in an essay on Singer and Streisand and published in the Canadian arts review Arcade, the film’s feminist reclamation of Yentl also trims away some of the story’s deepest instability. Singer’s Yentl tells Avigdor, “I’m neither one nor the other,” and the story allows a degree of erotic and ontological confusion that the film flattens into a drama of self-realization.
Kadimah’s production, adapted by Abrahams, Elise Esther Hearst and Galit Klas, starts from dissatisfaction with that inheritance. Hearst has said the team wanted to get back to the story’s darker, more transgressive roots. In an interview with The Times of London, Abrahams said he had been struck by how unlike the movie Singer’s story really was, and described the original as a work about spirituality, identity, gender, sexuality, as well as plain old sex.
Those ambitions are evident from the outset. This is not a shy Yentl. It foregrounds the body, goes hard on the story’s sexual unease and sharpens its queer implications. Amy Hack is alluringly androgynous in the title role, both attracted by and attractive to Avigdor and Hodes (Genevieve Kingsford in a very stiff performance), Avigdor’s erstwhile fiancée, who Yentl marries in bad faith. As in the film, she casts a prurient gaze at the bathing Avigdor (Ashley Margolis bares all onstage, one-upping Mandy Patinkin, whose naked tush is one of the film’s most memorable sights). Singer’s story can accommodate plenty of sexual discomfort and frustration, but Abrahams’ production lays it on too thick. Did he really need to make Avigdor a mikveh peeper?
The production also never settles on a convincing tone and register. The one-set production, with its vaguely Expressionist look, goes for too much shtetl schlock. The acting keeps sliding between modes without enough control to make the shifts meaningful: naturalistic for a few minutes, then suddenly pitched into something like Yiddish melodrama. Additionally, there isn’t any discernible logic to why certain passages are spoken in English while others are in Yiddish (with subtitles projected onto the set). The result is less daring than uncertain. No performance fully steadies the evening, although Evelyn Krape comes the closest. As the spectral “Figure,” she hovers, narrates, inhabits minor roles and hangs over the proceedings like a comic dybbuk. The device of a spectral conferencier does not entirely cohere, but Krape — hammy in a grotesque-vulgar-goofy way — almost pulls it off.
Kadimah’s production was lauded in Melbourne and Sydney but has met with a very different reception in London, which is, of course, a no-nonsense theater town. Despite the tepid and sometimes outright negative reviews (“Even with nude scenes, this is a schlep,” The Times of London’s critic wrote), the Thursday evening performance I attended was nearly full. And, the mostly grey-haired audience members, several of whom I recognized, from a nearby kosher deli where I wolfed down a pastrami sandwich before the show, were enthusiastic. A Yiddish Yentl in London now is enough of an event to draw not only the usual suspects but the theatrically adventurous — and, no doubt, some Streisand fans who should know to check their expectations at the door.
Kadimah Yiddish Theater, which recently passed its centenary, is, by some counts, Australia’s oldest theater company. This Yentl might well be the biggest hit they’ve had in their long history. Despite its shortcomings — and there any many, both in concept and execution — the production shows that the company understands the need to strive for more than nostalgia and sentimentality, à la Streisand, and to be a little impious and even impish.
Today’s most interesting Yiddish theater (and also film, to an extent) inscribes itself within tradition while treating that heritage as unstable, literate and vulgar. That is what makes the Yiddish work of another Australian director, Barrie Kosky, so refreshing and bracingly alive.
Earlier this season, Kosky directed K., a “Talmudic vaudeville” inspired by Kafka’s “The Trial” at the Berliner Ensemble. In interviews, Kosky has spoke of the polyglot, code-switching, cross-dressing Yiddish theater that formed part of Kafka’s world. His haunting and unsettling production moves between German, Hebrew and Yiddish (including a gorgeous translation of Schumann’s Dicherliebe into mamaloschen) and injects intellectual seriousness with showbiz energy.
There’s another reason I bring up Kosky, a prolific, influential, and deeply Jewish theater and opera director. In summer 2027, he will present a fresh musical version of Yentl at the Fisher Center for the Arts at Bard College, created together with Lisa Kron (the Tony-winning writer and lyricist of Broadway’s Fun Home) and Adam Benzwi, one of the director’s regular musical collaborators in Berlin. According to Bard’s announcement, Benzwi’s score will draw on American and European Yiddish theater, music hall and Hasidic choral traditions. That sounds less like an attempt to strip Yentl back to some pristine original than like an effort to push through the whole layered history of the piece and make something gloriously heterodox.
By this point Yentl exists not as a single work. Singer gave it severity, mischief and danger. Streisand gave it melody and yearning. Kadimah has tried, admirably if unsuccessful, to restore taboo, Yiddish abrasion and folkloric unease, sometimes vividly, sometimes crudely. Kosky may prove better placed than most to let those elements collide without trying to reconcile them too neatly.
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