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Nelson Cruz and other Hispanic MLB players visit Israel to promote Christian-Jewish relations
TEL AVIV (JTA) — On a recent Monday, the owner of a restaurant here captivated a group of 14 lunch patrons with stories of her life before and after moving to Israel from Ethiopia as a youngster. A family visiting from New York approached from another table, and the adult son asked if he could pose for pictures with some of the members of the big group.
After the group had left to walk to the shore nearby, the restaurant’s owner learned that she had just hosted a group of professional athletes and their entourage. She briefly considered running after them for a photo herself.
“I wish I’d known who they were,” she said.
The athletes — Nelson Cruz, Cesar Hernandez and Jeimer Candelario, all Major League Baseball players in the United States — were surprised by what they learned at lunch, too. For instance, they had not known of the existence of Black Jews, including the thousands of Ethiopians living in Israel.
The players and their significant others were brought to Israel for a week by the Philos Project, a U.S.-based nonprofit organization that promotes Christian relations with Israel and other Middle Eastern countries. It was the organization’s first delegation to Israel involving Hispanic athletes, said Jesse Rojo, the Philos Project’s director of Hispanic affairs. The group toured Christian sites in Jerusalem and the Galilee and ran a baseball clinic for Jewish and non-Jewish youth in Raanana.
The visit also aimed to “proactively” combat antisemitism, Rojo said, “to show our baseball players that they can make a difference, not wait for someone to come out with an antisemitic tweet to do something.” The trip was organized well in advance of the recent antisemitism controversies involving American celebrities such as rapper Kanye West and NBA star Kyrie Irving.
But the players also expressed eagerness to learn about Israel and to impart their experiences upon returning to their homelands of the Dominican Republic and Venezuela — and to MLB clubhouses.
Cruz, from the Dominican Republic, is 39th on the MLB’s all-time home run list with 459. He hit only 10 homers this year and is 42 years old, but he said he’s hopeful a team will sign him to a contract for 2023. Hernandez, a second baseman who is also now a free agent, hails from Venezuela and is a former Gold Glove winner, earned for being named the best defender at his position in the American League. Candelario, born in New York but raised in the Dominican Republic, is also looking for a new team after playing six seasons at third base for the Detroit Tigers. Cruz and Hernandez played together on the Washington Nationals this past season.
On a minibus, before it set out for a day of touring, Cruz led a prayer of gratitude as everyone along for the ride bowed their heads. Members of the group uttered “amen” responses throughout. In Jaffa, Candelario expressed excitement at learning that the Bible’s Jonah had departed by ship from the ancient city’s port before being swallowed by a huge fish. At lunch, Candelario led the table in grace.
In separate interviews, each of the three visiting players said he had never heard anti-Jewish or anti-Israel views expressed by relatives, friends or acquaintances. Most of their compatriots, they said, think that Israel is constantly under enemy attack, a view they added was dispelled by their experience traveling around the country and feeling safe.
All attributed pro-Israel inclinations to their strong Christian beliefs, including regularly attending church services. They cited their mothers as devout women who raised them with Bible stories.
“We love God and the word of God. This is the land of our fathers,” said Candelario. “Whoever blesses Israel will be blessed,” he said, paraphrasing God’s promise to Abraham.
Rojo is organizing a charity softball game in the Dominican Republic between Dominican and Jewish-American MLB players in the coastal town of Susua — which was founded by refugees of Nazism who established still-operating dairy and sliced-meat factories. Funds raised through the event will pay to renovate both a baseball field and the town’s synagogue and to commemorate the Jewish immigrants’ roles in Susua’s history, Rojo said.
Cruz is trying to recruit fellow Dominican players to come on subsequent Israel trips and to play in next year’s Susua event. Superstar outfielder Juan Soto, Cruz’s former teammate on the Washington Nationals, considered participating in the recent delegation, but he reversed course after being traded mid-season to San Diego, Cruz said. Cruz also hopes to persuade the retired legends Albert Pujols and Manny Ramirez to come to Israel, too.
Back home, “we’ll share this experience, and definitely more players will be motivated to come,” Cruz said.
“Anyone who’s an opinion-maker from such countries helps us,” said Jonathan Peled, the Israeli foreign ministry’s deputy director general for Latin America. “They become ambassadors of good [will]. Whether a pastor, an athlete, a performer, a YouTuber – on every visit to Israel, there’s nothing like firsthand observation to see Israel in a more balanced, positive manner and less distorted.”
Jeimer Candelario, a third baseman for the Detroit Tigers, interacts with children at the Raanana field. (Nico Andre’ Duran)
Israel enjoys good relations throughout Latin America, with Venezuela an exception after it broke off diplomatic relations with the Jewish state in 2009, Peled said. “But we hope that [ties] will be renewed soon,” he said.
Venezuela, the Dominican Republic and Israel, coincidentally, will be competing (along with Puerto Rico and Nicaragua) in the same group at the upcoming World Baseball Classic, to be held in Miami in March. The teams will feature large contingents of major leaguers, with Israel’s roster consisting mainly of American Jews.
Baseball is not a top sport in Israel, but Team Israel’s periodic success on the world stage has helped promote the game. The Raanana site — dedicated in memory of Massachusetts native Ezra Schwartz, who was killed in a 2019 terrorist attack in Israel — is one of only a handful of baseball fields in the country. Other notable ones are at Kibbutz Gezer, in Tel Aviv’s Yarkon Park, and at the Baptist Village complex in Petach Tikvah.
At the group lunch, Hernandez said that he “would live here” in Israel in the off-season if he could obtain a visa. He was asked whether he meant it.
“Yeah, because it’s the Jesus country,” Hernandez said. “I asked my wife, and she said yes.”
Sitting beside him at the restaurant, Gabriela Hernandez nodded.
“Yes,” she said, “because of the significance it has for us.”
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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.”