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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 “Fiddler” translating 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.”
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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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Jewish Democratic support weakened slightly in midterms, survey finds
(JTA) — Democrats lost a small amount of Jewish support overall in the midterm elections, even as an overwhelming majority of Jews voted for the party, according to the results of a new survey published Tuesday.
The poll also found that significant shares of both Jewish Democratic and Jewish Republican voters believe their respective parties have become too accepting of antisemitism.
The survey from the Jewish Electorate Institute, a nonpartisan think tank that often works with Democrats, was the latest data pointing to simmering Jewish discomfort with the majority of the community’s longtime electoral home — even as actual voting patterns have remained largely consistent. Conducted by research firm The Mellman Group, the survey polled 800 national Jewish registered voters online from Oct. 29-Nov. 6, including both early and day-of voters.
The data “reveal warning signs for both political parties” in their relationship to Jews, institute chair Barbara Goldberg told reporters in a briefing.
Researchers found that 69% of Jewish respondents voted for Democrats, a six-point drop from the 2024 election. There was a 3.5% margin of error.
That drop occurred even as several other groups that have consistently voted for Democrats increased their shares in 2026, including voters under 45, voters of color, women and white, college-educated voters.
In the run-up to what would become a historic “blue wave” election, the Jewish vote – a reliably Democratic bloc — received particular attention as several high-profile candidates, including Michigan Senator-elect Abdul El-Sayed, broke with longtime party consensus on Israel or otherwise unnerved the Jewish community throughout the campaign. Studies of Jewish voting attitudes published since Election Night, which have also included polls from the liberal Zionist lobby J Street and the pro-Israel group The Jewish Majority, have found that the Jewish party-line vote was largely unchanged despite those reservations.
While the Jewish Electorate Institute did not isolate any polling on Jews in Michigan specifically, it did poll all Jews about their views on El-Sayed and found that his favorability in the group had climbed since September. He is now viewed favorably by 44% of all Jews and 59% of Jewish Democrats, the survey found, with 40% of the former group and 25% of the latter viewing him unfavorably — giving the senator-elect a net favorability rating in both camps. The same polling also found that 41% of Jewish voters view pro-Israel lobbyists AIPAC favorably, and 35% unfavorably.
The survey also found that 36% of Jewish Democratic voters expressed concern about the direction of the party, agreeing with the statement that it has become “too accepting of antisemitic rhetoric within the Party.” One in four Jewish Republicans believed their party was becoming too friendly to white nationalists and the far right.
“The one place both parties are having problems is on rising antisemitism,” Michael Bloomfield, managing director of the Mellman Group who oversaw the survey, told reporters. The questions about antisemitism within the party had not been asked in previous election surveys conducted by the Mellman Group.
In addition, 28% of Jewish Democratic voters said they voted for candidates whose views on Israel caused them concern, saying that other issues outweighed those reservations. One in six Jewish Republicans said they did the same.
In results that echoed an earlier survey put out by the liberal Zionist lobby J Street, 14% of Jewish Democrats said supporting Israel was one of the most important factors in their vote. A higher share of the Jewish Electorate Institute respondents, 27%, said fighting antisemitism was one of their most important issues, while preserving democracy was the top concern.
The Jewish Republican voters surveyed ranked fighting antisemitism as their top concern, and support for Israel as among their top concerns.
This article originally appeared on JTA.org.
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Museum cancels Dutch synagogue’s tricentennial celebration over Israel tensions
(JTA) — An exhibition honoring the nearly 300-year-old Amersfoort Synagogue was supposed to be a celebration of Jewish life in Amersfoot, a small city in the central Netherlands.
Instead, Dutch Jews say, it could become the latest casualty of anti-Israel cancel culture that has targeted Jews in the Diaspora.
The city’s mayor in the last week has scrambled to save a planned exhibit on the synagogue after it was canceled, but so far has not been able to guarantee that it will open as planned early next year.
On Nov. 4, Paul Baltus, the director of Amersfoort in C, an organization that oversees the Museum Amersfoort and several of the city’s other cultural institutions, said he was canceling the upcoming synagogue exhibition due to “pressure,” an apparent reference to possible confrontations by pro-Palestinian activists.
Pro-Palestinian protesters have held dozens of demonstrations in the Netherlands since the Oct. 7 Hamas attack. On Nov. 8, tens of thousands of people gathered in Amsterdam to demand that the Dutch government impose stricter sanctions on Israel.
Although the museum started planning the exhibition five years ago, Baltus said in a statement, “Since then, the social climate has changed significantly. The situation in the Middle East is also having an impact on Dutch society. The public debate on this subject can be heated and, at times, lacking in nuance.”
Baltus said he is finding the “tension” surrounding the exhibition, which was slated to begin in early 2027, difficult to manage. “As a small and vulnerable organization, I do not want to expose my staff to that kind of pressure,” he said. While he acknowledged that he could hire security guards and install cameras, “the reality is that our volunteers would still have to deal with a range of reactions.”
Jewish community leaders in the Netherlands said they were shocked by the museum’s actions and called on city officials to ensure the exhibition would go on as planned.
The exhibition is one of several cultural events scheduled to mark the 300th anniversary of the Amersfoort synagogue, which opened in 1727. It is the oldest Ashkenazi synagogue in Western Europe still in use today.
On Nov. 4, Mayor Lucas Bolsius told the City Council that the municipality would begin discussions with the museum and other stakeholders “to ensure that the exhibition can proceed.” The museum’s decision to cancel “has caused considerable pain within the Jewish community, particularly by reinforcing the feeling that its members are not welcome or even allowed to exist,” he told council members.
Following a meeting the next day, Bolsius and Baltsus jointly announced on Nov. 6 that they would work together to try to find a solution.
Over the past week, the mayor said, “helping hands have been offered from the city, central government and across the country to address organizational matters. People and organizations want to help make this exhibition possible.”
Baltus said the help being offered has alleviated some of his concerns. “With this support, we will explore the possibilities with an open mind and a positive intention, in consultation with the Jewish community.”
While Jewish leaders told Jewish Telegraphic Agency that they welcomed these efforts, they said the museum controversy is just the latest example of hostility toward Jewish historical and cultural events in the Netherlands, where anything Jewish – even a 300-year-old diaspora synagogue – is often seen as inseparable from the Israeli-Palestinian conflict.
“We are very glad the mayor intervened. Let this be an example for other authorities,” said Hans Weijel, vice chairman of the Centraal Joods Overleg (CJO), the umbrella advocacy organization that represents the interests of the Netherlands’ 40,000 Jews.
Emile Schrijver, director-general of Amsterdam’s Jewish Cultural Quarter, which encompasses the Jewish Museum, the National Holocaust Museum, the Portuguese Synagogue and other Jewish cultural institutions, said the Museum Amersfoort had made its decision without first consulting the Jewish community or the organizations involved in the planned exhibition.
“Largely since Oct. 7, Jewish artists have had a difficult time finding a stage, and Jewish events, including cultural, can’t find a venue. Jewish events are being cancelled for no reason,” he said.
Schrijver rejected Baltus’s contention that security concerns made the museum exhibition unmanageable, given that the Jewish institutions Schrijver runs in Amsterdam frequently host events, despite pro-Palestinian demonstrations and related security concerns.
“We train our staff all the time. We deal with this every day. Yes, it’s difficult, but no, it’s not impossible,” he said.
Schrijver warned that treating Jewish cultural events as potential security problems risks pushing Jewish communities out of public life.
“The effect of this is that the normality of Jewish presence in a town is being pushed away,” he said. “Suddenly anything Jewish is considered a security hazard or prone to cause problems.”
Cultural institutions have a responsibility to distinguish between their views on Israeli government policy and the history of Jewish communities in the Netherlands, Schrijver said.
“You have to separate your private opinion from the long history of a small town in the Netherlands. What they’re effectively doing is pushing the Jewish community to the fringes of society.”
CJO’s Weijel said the Jewish community has played an important role in Amersfoort’s civic life since the mid-1600s.
“We think it is ridiculous that a museum in a city doesn’t want to have an exhibition about a 300-year-old synagogue and its history in that city. The conflict is in the Middle East, not here,” he emphasized. “If you want proof that this is antisemitism, this is the proof.”
Weijel accused Baltus of being “a coward.”
“He’s afraid something bad will happen, but if you’re that afraid, you should stay in bed.”
In his Nov. 4 statement, Baltus acknowledged the Jewish community’s disappointment and offered to contribute his museum’s “expertise and collection” of Jewish historical artifacts to an exhibition in the synagogue instead. He also offered to incorporate the synagogue’s history into the museum’s permanent exhibition on the history of Amersfoort.
For Schrijver, the Amersfoort controversy is yet another attempt to marginalize Jews in a country they have lived in for generations.
“The moment you make Jewish history dependent on what is happening in the Middle East, you are making Jewish existence conditional,” he said.
This article originally appeared on JTA.org.
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Donald Trump actually faced a few tough questions on ’60 Minutes.’ So, why does Marine Le Pen get a pass?
Last Sunday, the news show “60 Minutes” hosted an outgoing president of one country and, quite possibly, the incoming president of another. While falsehoods and fatuities flowed from President Donald Trump, his interviewer, Ross Douthat frequently, if futilely, tried to push back. Yet when Marine Le Pen, running for the presidency of France, also fibbed or fudged the truth, her interviewer, Trevor Phillips, did little more than arch an eyebrow.
This split-screen experience was unsettling for a few reasons. First, it reminded us that our president’s famous “weave” reflects a mind that is declining as surely as his poll numbers. A glance at the interview transcript reflects the deepening incoherence of the man who occupies the world’s most powerful office. This made all the most startling the cogency of his reply to a question Douthat posed at the end of the interview: whether he could stop hating his enemies if that was the price to enter heaven. To a flabbergasted Douthat, Trump replied, “I probably cannot do that, no, because I do hate some of my enemies and I always will.”
While no one can say whether Trump is destined for heaven or hell, Le Pen’s remarks in her interview suggest that she will make life hell for those men and women who fail to qualify, in her eyes, as French.
Yet, in his interview, Trevor Phillips, formerly of The (London) Times and a recent Bari Weiss recruit, failed to make this as clear as a Mike Wallace, a Dan Rather, or a Scott Pelley would have. Nattily dressed and well-spoken, Phillips presented a segment on the violence that has “erupted in Paris’ romantic boulevards” where “the scent of warm croissants and fresh baguettes has been overwhelmed by the whiff of tear gas.”
Overwhelmed by the weight of silly clichés, Phillips could not help but add “They used to call Paris la ville de l’amour — the City of Love. But there hasn’t been much amour on show lately.” While Phillips does not state who “they” are — given the hoariness of the clichés, perhaps they asked to remain anonymous — he should think twice about his assertion that there is not much love. Of course, the protestors are expressing their anger towards the government of President Emmanuel Macron, but they are also expressing their deep attachment, even love, to the republican tradition that has made Paris la ville de la révolution.
More important than his potted account of the social upheavals in Paris, however, was Phillips’ problematic interview with Le Pen. “In 2011,” he explained, “Le Pen took over leadership of what was then a fringe movement from her father, a tough army veteran convicted and fined for Holocaust denial and hate speech.” Yet nine years earlier, in 2002, Jean-Marie Le Pen, the candidate of this “fringe party” then called the National Front, made it into the second round of the presidential election. Though Le Pen failed to make it into the second round in 2007, that more than 4 million French voted for him suggests that his party and person were hardly fringe. It is also odd that while Phillips noted Le Pen’s Holocaust denialism, he omitted Le Pen’s confession that he had tortured Algerian captives while serving in French Algeria.
No less stunning was Phillips’ description of Marine Le Pen’s decision to banish her father from the party in order “to rid it of its stain of bigotry.” If only it were mere bigotry. The National Front was founded, in part, by former members of the French division of the Waffen SS and sympathizers of the wartime collaborationist regime of Vichy. While the daughter has largely succeeded in removing these elements from the party, which she rebranded as the National Rally, she has not removed the “stain” of antisemitism. Little more than a month ago, the French newspaper Mediapart revealed that Le Pen’s second-in-command, Jordan Bardella, was trafficking in antisemitic bilge even after he joined the party as a teenager.
Time and again, Phillips posed questions but had not adequately prepared for Le Pen’s predictable replies. When he asked, in his opening question, “What is happening in Europe? Has politics here just become more radical?” Le Pen answered that “the extreme left creates chaos. They generate violence against people.” If Phillips had done his due diligence, he would have confronted Le Pen with the recent study by the historian Nicolas Lebourg revealing that while six murders in France since 1986 were “generated” by the extreme left, nearly sixty were “generated” by the extreme right. Phillips might also have mentioned last month’s mass killing and wounding of French Muslims in the town of Trappes by an individual who marinated in the literature of the extreme right.
Finally, when Le Pen made the jaw-dropping claim that “discrimination does not exist in France” and, moreover, is “the least racist country in the world,” Phillips did, in fact, raise an eyebrow while repeating her words. But it would have been more effective, perhaps, to raise the findings of various organizations, like the Defenseur des droits, which concluded in 2024 that the “perceived origin” of a job applicant weighs more than any other factor in hiring decisions in France.
As for his lack of follow-up questions to Le Pen’s assertion that France is the world’s least racist country, Phillips’ professional malfeasance was made fully manifest. In every presidential campaign, Le Pen has committed to establishing the law of national priority, which in effect would constitutionalize a racist agenda. Based on the extreme rightwing hobbyhorse of the “great replacement” — namely, that France’s white population is deliberately being replaced by third world immigrants — the law will limit employment opportunities, social and housing benefits to French citizens. Such a law not only runs counter to the laws of the European Union, but also to the humanist and universalist grounding of France’s constitution.
Phillips failed to contest this claim. Ironically, he closed the interview with Le Pen’s assurance that “French people have got to know me.” If only Phillips had done so, as well.
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