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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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Billie Eilish and the Erasure of Antisemitism After Australia’s Terror Attack
Police officers stand guard following the attack on a Jewish holiday celebration at Sydney’s Bondi Beach, in Sydney, Australia, Dec. 15, 2025. Photo: REUTERS/Flavio Brancaleone
On Sunday, December 14, the Australian Jewish community was shattered by a horrific terrorist attack that claimed the lives of 15 people, including a Holocaust survivor, a rabbi, and a 10-year-old girl.
This was not random violence. The attackers did not open fire indiscriminately on beachgoers or people passing by, nor was this an abstract failure of gun control or public safety.
The shooters deliberately targeted Jews gathered for a Hanukkah event, firing toward a clearly identifiable Jewish celebration. The intent was unmistakable. This was a targeted, ideologically motivated antisemitic terror attack.
They didn’t shoot the surfers or swimmers, bathers running for their lives or the brave lifeguards at Bondi.
They just shot the Jews.
Only the Jews.That’s the issue. Everything else is spin and gaslighting
— Brian Carlton (@Spoonyman) December 15, 2025
Yet some public figures rushed to reframe it as something else.
Musician Billie Eilish, for example, described the attack as “devastating” while emphasizing the need for stricter gun control in the United States and Australia — a response that sidestepped both who was targeted and why.
That framing is difficult to separate from Eilish’s own record. She has publicly accused Israel of committing “genocide” and proudly worn the Artists4Ceasefire pin featuring a red hand, an image uncomfortably reminiscent of the blood-stained hands displayed by terrorists after the lynching of Israelis in Ramallah during the Second Intifada.
Australia already has some of the strictest gun laws in the world; its last mass shooting occurred in 1996.
In the wake of last week’s attack, the Australian government again pledged to enforce even tighter restrictions. Whether Eilish was aware of this context is ultimately beside the point. What matters is her refusal to acknowledge the antisemitic motivation of the attack and the Jewish community it targeted.
A similar omission appeared in Australian Prime Minister Anthony Albanese’s initial statement following the attack, which made no mention of Jews as the intended victims, despite the well-known presence of a large Hanukkah event nearby. Although Albanese later corrected course, that first statement helped set the framework through which much of the public understood the attack, blurring its antisemitic nature at the outset.
This instinct to default to safe political talking points while avoiding uncomfortable truths about antisemitic violence is increasingly common among celebrities and politicians alike. But the terror attack in Australia did not occur in a vacuum. It followed more than two years of escalating antisemitic incidents across the country, during which Jews have been physically threatened, verbally abused, and spiritually targeted.
Synagogues have been firebombed. and Jewish-owned businesses vandalized. Crowds openly chanted calls to “gas the Jews.”
Notably, some public figures did acknowledge this context. Film star Ashton Kutcher warned that antisemitic rhetoric “carries a cost.” Actor Josh Gad observed that the tragedy occurred because antisemitism has become “acceptable and cheered.” Their responses recognized a reality others chose to obscure.
Those who removed antisemitism from their condemnation of the attack did not merely omit context; they distorted it. By refusing to name the motive, they minimize the danger facing Jewish communities and help sustain a climate in which hatred can continue unchecked.
Naming the problem is not divisive. Refusing to do so is.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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‘Furious but Not Surprised’: UK Jewish Groups React After Bob Vylan Not Charged for ‘Death to the IDF’ Chant
Bob Vylan lead singer Bobby Vylan. Photo: BANG Showbiz via Reuters Connect
The Embassy of Israel in London as well as British Jewish groups have lambasted the decision by the UK’s Avon and Somerset Police on Tuesday to conclude its investigation into “death to the IDF” chants made during a Bob Vylan performance at the Glastonbury Festival and to take no further action against the British punk rap duo.
The police force decided not to bring charges against the London-based band after its lead singer Pascal Robinson-Foster, known by his stage name Bobby Vylan, led the audience in repeatedly chanting “death, death to the IDF” during their set at Glastonbury on June 28. The set was broadcast live on BBC.
“We have concluded, after reviewing all the evidence, that it does not meet the criminal threshold outlined by the CPS [Crown Prosecution Service] for any person to be prosecuted,” Avon and Somerset Police said in a statement. The force added that every potential criminal offense “was thoroughly considered,” police “sought all the advice [it] could to ensure we made an informed decision,” and “no further action will be taken on the basis there is insufficient evidential for there to be a realistic prospect of conviction.”
In a statement posted to X, the Embassy of Israel in London said it was “deeply disappointing that vile calls for violence, repeated openly and without remorse, continue to fall on deaf ears.”
“Especially in the wake of the terror attacks in Manchester and Bondi, when will such calls finally be recognized for what they are: a real and dangerous instigator of bloodshed?” the embassy continued. “Pascal Robinson-Foster of Bob Vylan should have been held accountable for his bigotry and racism. Failing to act only emboldens those who seek to harm Jews.”
The British charity Campaign Against Antisemitism (CAA) also lamented the police’s decision in a statement, describing it as another blow to the Jewish community in the UK.
“British Jews will be furious but not in the least surprised,” a CAA spokesperson said.
“Over the last two years, trust in the authorities has collapsed,” the spokesperson added. “With most British Jews now considering whether they have a future in the UK at all, over and over again it falls to us to explore all legal avenues to take action because the authorities will not.”
The Community Security Trust (CST), which aims to provide safety for Jewish communities in the UK, said the decision is “incredibly disappointing” and “sends completely the wrong message at the worst possible time,” as reported by The Guardian.
Avon and Somerset Police said that as part of their investigation into the anti-IDF chants, they conducted “a voluntary police interview under caution” with a man in his mid-30s in November. Officers also spoke to “approximately 200” members of the public to see if they “may be a victim of a criminal offense.” In an effort to gain “an understanding of any legal precedents,” police additionally contacted other police forces in the UK who have investigated similar incidents and sought advice from the National Police Chiefs’ Council hate crime leads, the CPS, and an “independent barrister” before concluding its investigation.
“We sought specific consideration around the words stated, in terms of the intent behind them, the wider context of how people heard what was said, case law, and anything else potentially relevant, including freedom of speech,” the statement continued. “Every case must be treated on its own merits. Consistently the advice we have received has highlighted fundamental evidential difficulties that cannot be ignored,” police said.
“We believe it is right this matter was comprehensively investigated, every potential criminal offense was thoroughly considered, and we sought all the advice we could to ensure we made an informed decision,” authorities added. “We are committed to working positively with all our communities across Avon and Somerset in relation any matters that may arise in the future, because there is no place in society for hate of any kind.”
Bob Vylan commented on the police decision in a lengthy Instagram post on Tuesday. The band claimed the investigation was “never warranted in the first place” because the anti-IDF chant during their Glastonbury set was “evidently not hateful,” but rather “a display of solidarity with the Palestinian people.” They also falsely accused the IDF of wantonly murdering Palestinians.
“Over the past six months, the media and politicians have consistently attacked us for using our art and platform to take a stand against the actions of Israel and its illegal occupying military force,” they wrote. “We hope that this news inspires others in the UK and around the world to speak up, and continue speaking up, in support of the Palestinian people, without fear. We have had our shows cancelled, visas revoked, our names tarnished and our lives upended, but what we have lost in peace and security, we have gained tenfold in spirit and camaraderie. And that is unbreakable.”
The band concluded in part by declaring “Free Palestine” and saying that they hope “all oppressed people the world over, resist the boot of tyranny on the neck of freedom.”
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Netanyahu: Israel to Spend $110 Billion to Develop Independent Arms Industry in Next Decade
Israeli Prime Minister Benjamin Netanyahu speaks during a joint press conference with Cypriot President Nikos Christodoulides and Greek Prime Minister Kyriakos Mitsotakis (not pictured) after a trilateral meeting at the Citadel of David Hotel, in Jerusalem, Dec. 22, 2025. Photo: ABIR SULTAN/Pool via REUTERS
Israeli Prime Minister Benjamin Netanyahu said on Wednesday that Israel would spend 350 billion shekels ($110 billion) on developing an independent arms industry to reduce dependency on other countries.
“We will continue to acquire essential supplies while independently arming ourselves,” Netanyahu said at a ceremony for new pilots.
“I don’t know if a country can be completely independent, but we will strive … to ensure our arms are produced as much as possible in Israel,” he said. “Our goal is to build an independent arms industry for the State of Israel and reduce the dependency on any party, including allies.”
Netanyahu’s comments came about a month after he denied reports that his country was seeking a new 20-year military aid deal with the US, insisting that Israel was working to wean itself off American assistance.
“I don’t know what they’re talking about. My direction is the exact opposite,” Netanyahu said on “The Erin Molan Show” last month when asked by the Australian journalist about a new Axios report saying Israel was pursuing the security agreement.
According to Axios, the deal under discussion would include “America First” provisions to win the Trump administration’s support. The current 10-year memorandum of understanding between the two countries — the third such agreement signed — expires in 2028. It includes around $3.8 billion of annual military aid to Israel, which spends nearly all the assistance in the US to purchase American-made weapons and equipment.
Netanyahu’s latest comments come amid growing criticism in the US among progressives and, increasingly, some conservatives over American military support for Israel, especially among younger Americans.
“Now, I want to make our arms industry independent, totally as independent as possible,” Netanyahu said last month. “I think that it is time to ensure that Israel is independent.”
Netanyahu added that US defense aid to Israel is a “tiny fraction” of what Washington spends in the Middle East.
“We have a very strong economy, a very strong arms industry, and even though we get what we get, which we appreciate, 80 percent of that is spent in the US and produces jobs in the US,” he continued, saying he wants to see “an even more independent Israeli defense industry.”
The Israeli premier went on to stress that his country has never asked a single American solider to fight for Israel.
“Israel does not ask others to fight for us,” he said. “Israel is the one American ally in the world that says, ‘We don’t need boots on the ground, we don’t need American servicemen fighting on the ground for Israel or around Israel. We’re fine.’ We fight our own battles, but in doing so, we serve important American interests, like preventing countries that chant ‘Death to America’ from having nuclear bombs to throw at America.”