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On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival

(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.

Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.

This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1. 

“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”

The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva. 

”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section. 

Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.

Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.

Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.

Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.

Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”

Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”

Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)

Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage. 

Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.

“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”

In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).

He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddlertranslating a couple of sentences at a time between scenes.

Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.

Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls. 

 

His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.

“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”

Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.

Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol(“Never Say”), the anthem of the Vilna partisans.

And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.

He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.” 

“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”


The post On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival appeared first on Jewish Telegraphic Agency.

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Turning Point USA Disaffiliates Woman Who Verbally Attacked Jewish Students: Reports

Kaylee Mahoney, a University of Miami student and conservative influencer who verbally attacked Jewish students on campus on Jan. 27, 2026. Photo: Screenshot.

The Turning Point USA chapter of Miami, Florida, has reportedly fired a right-wing influencer and University of Miami student who upbraided Jewish peers in a tirade in which she denounced them as “disgusting” while accusing rabbis of eating infants.

“Christianity, which says love everyone, meanwhile your Bible says eating someone who is a non-Jew is like eating with an animal. That’s what the Talmud says,” the social media influencer, Kaylee Mahony, yelled at members of Students Supporting Israel (SSI) who had a table at a campus fair held at the University of Miami. “That’s what these people follow.”

She continued, “They think that if you are not a Jew you are an animal. That’s the Talmud. That’s the Talmud.”

The Talmud, a key source of Jewish law, tradition, and theology, is often misrepresented by antisemitic agitators in an effort to malign the Jewish people and their religion.

Mahony can also be heard in video of the incident, which took place on Tuesday, responding to one of the SSI members, saying, “Because you’re disgusting. It’s disgusting.”

Students told The Miami Hurricane newspaper that she further charged that “rabbis eat babies” during the altercation.

Mahony, who has more than 125,000 followers on TikTok, was the head of public relations for the university’s College Republicans club and the head of social media for Turning Point USA’s Miami chapter, according to her LinkedIn.

However, The Miami Hurricane reported that College Republicans terminated Mahony’s membership in the club. And now it appears that Turning Point (TPUSA) has taken a similar step.

According to StopAntisemitism, a nonprofit which tracks antisemitic incidents across the world, Mahony is “no longer affiliated” with the organization and is now being investigated by the university to determine whether her comments violated its code of conduct.

Laura Loomer, a conservative activist and self-described investigative journalist also reported that Mahony was “fired” by TPUSA.

After Tuesday’s incident, Mahony took to social media, where she posted, “Of course the most evil (((country))) in the world is filled with (((people))) who hate Jesus [sic].”

The “((()))” is used by neo-Nazis as a substitute for calling out Jews by name, which, given the context in which they discuss the Jewish people, could draw the intervention of a content moderator.

The confrontation highlights a growing divide within TPUSA over Israel and antisemitism in the aftermath of the assassination of conservative activist Charlie Kirk, who started the political advocacy organization.

Kirk was avidly pro-Israel and counseled conservative youth to avoid neo-Nazis and antisemitism, but a core of TPUSA’s demographic has embraced figures such as Nick Fuentes and Candace Owens, both of whom have reprised medieval conspiracy theories about Jewish influence, perfidy, and libertinism.

Far-right activists have attempted to distort Kirk’s legacy since his death, with figures such as Tucker Carlson implying that he was murdered by “guys sitting around eating hummus” in Jerusalem and Owens suggesting Israel was behind his death. Meanwhile, Owens has suggested that Kirk’s widow, Erika, was a co-conspirator in her husband’s killing.

There has been no evidence to support such claims. Tyler Robinson, 22, has been charged for murdering Kirk and potentially faces the death penalty. He was romantically involved with his transgender roommate, and prosecutors have reportedly argued that Kirk’s anti-trans rhetoric was a key factor that allegedly led him to shoot the Turning Point USA founder.

Experts have argued that far-right efforts to distort Kirk’s stance on Israel and antisemitism are part of an effort to undermine not only the US-Israel alliance but Washington’s leadership in the world more broadly.

“It’s antisemitism for the purpose of undermining Americans’ confidence in ourselves and in our post-World War II role in the world,” Hudson Institute scholar Rebeccah Heinrichs said during a conference on antisemitism held in Washington, DC in December. “That is very dangerous because we can’t come to consensus on anything else we need from a grand strategy perspective if Americans scapegoat our problems to the Jews and if they believe that Israel is no longer an ally but it never was, and in fact that we were on the wrong side of World War II, which is now the narrative being pushed.”

Meanwhile, antisemitism is surging across the US.

Earlier this month, a 19-year-old suspect, Stephen Pittman, was arrested for allegedly igniting a catastrophic fire which decimated the Beth Israel Congregation synagogue in Jackson, Mississippi. According to court filings, he told US federal investigators that he targeted the building over its “Jewish ties.” Prior to that, the Anti-Defamation League (ADL) published statistics showing an atmosphere of hate not experienced in the nearly 50 years since the organization began tracking such data in 1979.

The FBI has disclosed similar numbers, showing that even as hate crimes across the US decrease overall, those perpetrated against Jews continue to rise to record numbers. Jewish American groups have noted that this surge in antisemitic hate crimes, which included 178 assaults, is being experienced by a demographic group which constitutes just 2 percent of the US population.

Amid these convulsions in the US, as well as across the Western world, Jewish communities around the world continued to remember Kirk as a friend of both Israel and the Jewish people.

Last week, the State of Israel posthumously honored Kirk for his efforts to combat antisemitism at the 2026 International Conference on Combating Antisemitism in Jerusalem.

Follow Dion J. Pierre @DionJPierre.

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When Catherine O’Hara delivered the perfect Purim spiel

Catherine O’Hara, the SCTV star who rose to international fame in Home Alone and had a late career renaissance on Schitt’s Creek and on Apple TV+’s The Studio, has died at 71. The cause of death was not clear at press time.

O’Hara was an actor known for her versatility, convincing millions she could forget her son as she left for vacation (twice) and going on to play a series of eccentrics, like Moira Rose, the self-involved, delusional ex-soap opera star and mother of an interfaith on Schitt’s Creek, opposite her regular collaborator of decades, Eugene Levy.

While O’Hara may be best remembered for that show, for which she won a Golden Globe and an Emmy, or in the improvised mockumentaries of Christopher Guest, it was in a rare scripted film by Guest where she gave perhaps the most indelible Purimspiel in cinema history.

In 2006’s For Your Consideration, O’Hara plays veteran actress Marilyn Hack, cast in an awards-baity picture called Home for Purim. We get a glimpse of the film, a weepy melodrama set in the American South and starring Hack as a terminally ill matriarch.

Together the family joins with groggers to sing a tune that speaks of Achashverosh telling Esther “don’t farbrent” and rhymes it with “shep naches later in my tent.”

Of course the comedy here is that this film could have wide commercial appeal, and the premise that one would travel great distances to come home to observe Purim with the family as if it were Christmas (it’s later changed to Home for Thanksgiving).

After the family finishes singing the song, Hack in character, sounding like a Tennessee Williams matron, coughs ominously on cue into a napkin to signal her time is near.

“My time is short and I will not leave the Purim table,” Hack says as the hacking mother.

On request from her daughter — played by O’Hara’s frequent co-star Parker Posey — she then explains the significance of Purim to her brood.

“I’m an Esther, like the queen,” she says, wearing a glittering diadem. “She was a woman who came from the worst of times to the best. To a palace where she had everything she wanted. Comfort, riches, power. And she risked it all, including her life to serve a higher purpose, commit a selfless act to save a nation.”

O’Hara plays this to the just-believable-hilt, scored by an Itzhak Perlman-esque violin strain. When she asserts that “my selfless act was to protect my family from all the Hamans,” her kin spin their groggers and she loses it as only she could.

“I don’t have much time! Put your toys down!”

She then flips the story, realizing the irony that the Haman she was trying to protect her daughter from, turned out to be her. In what would have been the Oscar clip, the children dispute this: “You’re no Haman, Mama. You’re Queen Esther.”

Played for laughs, the scene — and indeed the premise of the film-within-a-film — was in some ways prescient, as Evangelicals increasingly look to Esther’s example.

A proof of O’Hara’s range is that, while making her mark in a Christmas film franchise, she could contribute perhaps the highest profile instance of Purim to the canon. That it wasn’t believable was the point, but the fact that she could so effortlessly embody an actor acting badly makes you think she could have sold the real thing.

The post When Catherine O’Hara delivered the perfect Purim spiel appeared first on The Forward.

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Iranian Jews caught between frustration and hope as US debates intervention

Over the past several weeks, Iranian American Jews have watched a historic uprising unfold in Iran. For many in the diaspora, the protests feel like a potential watershed moment for revolution in Iran. But alongside that hope is concern that the American conversation around Iran has been subsumed in domestic debates about American power abroad.

For Iranian Jews, this moment is sharpened by history. Most fled Iran during and after the 1979 Islamic Revolution, when social and political instability became widespread, Sharia law was imposed, and life for religious minorities fundamentally changed. The Jewish population, once estimated at around 100,000, has since dwindled to between 8,000 and 10,000. As Iranian Jewish human rights activist Marjan Keypour told the Forward, “the Jews in Iran were given a one-way ticket right out of the country.”

These protests have unlocked long dormant possibility that Jews might one day return to Iran — if not to live, then at least to visit on their own terms.

Human rights activist Marjan Keypour Courtesy of Marjan Keypour

“Every Persian kid is asking their parents, ‘Where would you go first? If we go back to Iran, where will you take me?’” said Moji Pourmoradi, former assistant director of the High School at Temple Israel of Great Neck, a community that is home to one of the largest Persian Jewish populations in the country. “People haven’t asked those questions since they left. They were not allowed that hope.”

America First?

That newfound optimism makes the stakes of the uprising profound for Iranian Jews. “When I’m with my family, we talk about Iran every day,” said Tyler Moshfegh, a 21-year-old Iranian Jew from Los Angeles who still has relatives in the country. Recently, he said, those conversations have been marked by frustration over how many other anti-regime protest movements in Iran since 1979 have been crushed.

“Every time, the U.S. government says they’re going to support the people of Iran,” Moshfegh said, “and then it just gets thrown under the rug after a week.”

Iranian Jews had initially been buoyed by comments from President Donald Trump, who said in a Jan. 14 Truth Social post addressed to Iranian protesters, “KEEP PROTESTING – TAKE OVER YOUR INSTITUTIONS!!!… HELP IS ON ITS WAY.” The U.S. moved major military assets to the Middle East this week, and threatened the use of force unless Iran agreed to a nuclear deal.

But in the time between the message and the military movement, thousands of protesters were reportedly killed by Iranian regime forces, giving some the impression that Trump’s shifting rhetoric had left the protesters defenseless. For them, allowing the regime to evade accountability for the mass killing of demonstrators in exchange for a nuclear deal does not go far enough.

“There are many people who are like, ‘Trump, you better not back down,’” said Rabbi Tarlan Rabizadeh, a vice president at American Jewish University and the daughter of Iranian immigrants. “We believed in you. If you do this, we’re never going to believe in you again. And you’re going to have blood on your hands.”

At the same time, some Iranian American Jews described feeling pressure to defend their concerns as calls grow on the American right to avoid foreign intervention altogether. Former Rep. Marjorie Taylor Greene wrote on X that “President Trump threatening war and sending in troops to Iran is everything we voted against in ’24.”

Anna Hakakian, a community leader and president of the Babylonian Jewish Center Sisterhood in Great Neck, said, “The ‘staying out’ rhetoric feels like abandonment, especially when it translates into silence on human rights or appeasement of the regime.”

Rabizadeh said she struggles to understand how critics ignore the Iranian regime’s broader threat to the U.S. because it is the world’s foremost state sponsor of terrorism, funding groups like Hamas, Hezbollah and the Houthis.

“Forget about Israel,” she said. “What about the Houthis and all of the American ships they keep bombing?”

Rabbi Tarlan Rabizadeh Courtesy of Tarlan Rabizadeh

A deafening silence

Yet even more resistance to the idea of U.S. military action in Iran comes from Democrats — 79% of whom oppose intervention even if protesters are killed while demonstrating, compared to 53% of Republicans.

For Hakakian, the paucity of activism supporting the protesters revealed a double standard.

“Where are all the celebrities who speak loudly about human rights?” Hakakian said. “Where are the feminists? Where are the campus activists?  It’s not west versus east, it’s not colonizer versus oppressed, so the suffering is ignored.”

That frustration has been compounded by antisemitic conspiracy theories circulating in some progressive spaces – including one shared by a Columbia University professor – claiming the protests in Iran were instigated by the Mossad to distract from the Israeli-Palestinian conflict.

“In Great Neck, where many families have direct memories of persecution and exile, this framing seems dehumanizing, and it has an antisemitic undertone,” Hakakian said, adding, “It’s very much in line with what the regime narrates and what they want people to believe.”

On social media, some on the left have criticized the Iranian diaspora’s support for opposition figure Reza Pahlavi, who has been widely attacked for being pro-Israel. Pourmoradi said that Iranian Jews are frustrated by the refusal of those on the left who refuse to back U.S. intervention because they believe it is connected to promoting Israeli interests.

“Their ignorance isn’t just ignorance anymore. It’s detrimental. How many of those people that can’t back it have spoken to anybody who lived through it?” she said. “I think that most of my community feels the same way.”

Keypour said involving Israel in the conversation was a cheap way to dismiss the thousands of lives that had already been sacrificed in the Iranian people’s struggle for freedom.

“If we are mixing the conversation about Iran with Israel, Zionism, and Mossad,” said Keypour, “we discredit the agency of the Iranian people that they have exhibited so bravely.”

The post Iranian Jews caught between frustration and hope as US debates intervention appeared first on The Forward.

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