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No longer a ‘Real Housewife,’ Orthodox influencer Lizzy Savetsky turns to fighting antisemitism
(New York Jewish Week) — Lizzy Savetsky’s life has been turned upside down and inside out over the past eight months.
The 37-year-old social media influencer, who identifies as “a proud Orthodox Jewish woman,” became practically a household name this summer when she was announced as a cast member for the 14th season of “The Real Housewives of New York.” Having recently relocated from Texas to the Upper East Side, the mom of three kids (Stella, 10, Juliet, 8 and Ollie, 2) was thrust into the spotlight alongside six other New York City-based socialites, including fashion designer (and “Girls” guest star) Jenna Lyons and Israeli real estate agent Erin Lichy.
But then, in mid-November, after just weeks of filming, Savetsky left the show. At the time, she said it was due to antisemitism she experienced in online forums. In the aftermath of her departure, there were unsubstantiated reports that she clashed with other cast members, and that her husband had been heard using a racial slur.
In a recent interview with the New York Jewish Week, Savetsky declined to comment on those reports. Instead, she spoke about something she considers exceedingly more important: using the joy and light of Hanukkah — and, well, her social media reach of 225,000 Instagram followers — to fight antisemitism.
Though she’s no longer associated with the reality juggernaut, Savetsky has emerged as a famous Jewish New Yorker nonetheless. These days, she’s making public appearances to talk about community safety and antisemitism, and she even hosted a Hanukkah party at her home where she lit the menorah alongside Mayor Eric Adams.
This Festival of Lights, Savetsky is the face of the Friends of the Israeli Defense Forces’ “Live the Miracle” media campaign. Each night of Hanukkah, a different high-profile Jew lights a candle alongside an Israeli soldier, part of a video campaign intended to stand up against antisemitism while supporting the IDF. Also featured in the videos are stand-up comedian Modi Rosenfeld, Israeli actor and anti-antisemitism ambassador Noa Tishby and rapper Kosha Dillz.
Savetsky and her family lit the candle on the first night of Hanukkah alongside Shahar, a female naval combat sergeant currently serving in the IDF. Savetsky called Shahar “an amazing role model for her daughters” who showed them “you’re never too young or too small to contribute amazing things to the Jewish people.”
“It was really one of the most special experiences that we’ve had as a family,” Savetksy said of meeting Shahar and lighting the candles with her. “From a biblical sense, Hanukkah comes after a very dark time and it’s about bringing light to the darkness. To be able to celebrate this, in this moment, is a profound experience, and to be able to do that with a soldier from the IDF is something that means so much to me and my family and to be able to share that with the world is a really big deal.”
The FIDF campaign is only the latest move by Savetsky to showcase her Jewish pride. Though she calls herself an “accidental activist” — the NYU grad who grew up in Fort Worth first began her fashion blog, “Excessories Expert,” in the 2010s, and her media accounts then were mostly dedicated to fashion and lifestyle content — she has become well known for talking about Jewish traditions and customs, promoting Zionism and her love for the State of Israel and, perhaps most urgently of late, calling on others to help fight the scourge of antisemitism.
“I just saw how necessary it was,” Savetsky said of her shift to calling on others to help fight antisemitism. “I want to do everything I can for my people because I want to ensure a future for my children and their children. So I really made a conscious decision to shift my platform to not only fighting antisemitism, but to also share and educate about Judaism because I think a lot of hate is born out of fear.”
“It’s a privilege to stand in solidarity with these influential Jewish figures who will not let darkness prevail,” said Steve Weil, the chief executive officer of Friends of the IDF. “These are people, who, in the face of social media and all sorts of attacks, are standing up for morality, for dignity, and for these young men and young women who are literally at the front line of humanity.”
“I have always been unapologetic about my support for Israel and calling myself a Zionist,” Savetsky told the New York Jewish Week. “I want to put a face to what that means — it is like a wife and a mother and somebody who’s loving and hard-working.”
And yet, her beliefs and outspokenness have drawn the ire of many, especially when the “Real Housewives” cast was announced. Her Instagram handle proclaiming her a “proud Zionist” drew broadsides from pro-Palestinian activists, while some Jews on social media also criticized her for not dressing modestly despite being part of a Modern Orthodox Jewish community.
Savetsky said she and her family received hateful messages and even death threats. Even her husband, plastic surgeon Ira Savetsky, received a letter mailed to his office calling him a “kike” and an “arrogant piece of sh–.”
“I expected to receive negativity. I know that, unfortunately, Israel is a very polarizing topic and I have always been unapologetic about my support for Israel,” she said. “But the amount of hate and the fact that it was coming from all directions — from the far right, from the far left, from so many different groups of people — and the viciousness of it just it really broke my heart.”
The vitriol became overwhelming, Savetsky said. “For the first time I found myself really fearing for my safety and questioning my decision to put myself in this public position,” she said.
Ultimately, after only weeks of filming, Savetsky insists she decided to leave the show because of the antisemitism she faced. “It was definitely not the path for me and for my family,” Savetsky told the New York Jewish Week. “I have no regrets about going through the process because if anything, it shined a light on just how much hate there is out there.”
“I would rather know and understand the reality of it so that I can use my efforts to fight it,” she added. “The fear that I felt from experiencing all the hate I’ve gotten in the past few months really just motivated me to double down and fight even harder.”
Days after her announcement, Page Six, citing “production insiders,” reported that there was more to the story surrounding Savetsky’s departure — including that Savetsky declined to match a non-Jewish cast member up with a Jewish man, and that her husband repeated anti-Black slurs to a producer.
Savetsky declined to comment on these allegations, nor have the rumors been confirmed by Bravo or a named member of the cast. The show is set to air sometime in 2023.
And while she may not be a “Real Housewife,” Savetsky plans to stay in the city. “New York is the center of the universe,” she joked, citing the large and diverse Jewish community as a huge reason why she wanted to raise her kids here. Living on the Upper East Side, Savetsky’s daughters attend a Modern Orthodox day school, and the family is a member of the newly created Altneu congregation, helmed by Rabbi Benjamin Goldschmidt and his wife Avital Chizhik-Goldschmidt.
Despite leaving the show, Savetsky has no plans to be silent about antisemitism. Savetsky has gained more than 20,000 followers since the “Real Housewives” cast announcement, and the subsequent antisemitism she faced — as well as the rise in antisemitic incidents, in general — have only inspired her to be more outspoken about her Judaism and Zionism, she said.
“Everything has changed in the past few months — for me, personally, and I believe for the Jewish people and the world,” Savetsky said. “The world is waking up to the reality that antisemitism isn’t just this looming threat, but it’s real and it’s here and I think people are opening their eyes to that.”
She added: “I’ve never felt like my purpose was so clear as I do in this moment to be loud and proud and to stand up for my people.”
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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.”