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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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Israel’s Bobsled Team Clarifies It Withdrew From Last Day of Winter Olympics After Wanting Lineup Switch

Milano Cortina 2026 Olympics – Bobsleigh – 4-man Heat 1 – Cortina Sliding Centre, Cortina d’Ampezzo, Italy – Feb. 21, 2026. Adam Edelman of Israel, Menachem Chen of Israel, Uri Zisman of Israel, Omer Katz of Israel in action during Heat 1. Photo: REUTERS/Athit Perawongmetha

Israel’s four-man bobsled team withdrew from the last day of the 2026 Milan Cortina Olympics on Sunday after there were issues with how the team wanted to change its lineup mid-competition and allow its alternate to participate.

The team’s captain and pilot AJ Edelman explained in a series of posts on X that since the team knew it had no chance of winning in the third heat on Sunday, it wanted to give their alternative, 25-year-old Druze athlete Ward Fawarseh, an opportunity to compete in the Olympics for the first time ever before the Winter Games concluded. Farwarseh is the first Druze to make it to the Olympics, and this year marks the first time ever that Israel is competing in bobsledding in the Games.

However, changing push athletes midway through a competition is only permitted under special circumstances, including an illness or injury. As a result, the Israeli team – consisting of AJ Edelman, Menachem Chen, Uri Zisman, and Omer Katz – decided together to withdraw from the third heat on Sunday.

“We offered to withdraw before any action was taken,” Edelman told The Algemeiner on Monday, clarifying that his team was not disqualified from the competition, despite reports suggesting the contrary.

“Given that our placement going into the final run was all but predetermined, it was more important to us that our alternate could have the opportunity to compete in the Olympics. The team moved to make the replacement,” Edelman further explained in a post on X. “But the circumstances under which we made the substitution did not meet the bar that allows a team to make a lineup change, and we withdrew from our final run.”

“I will always remain proud that the team looked at their Druze brother, who had earned his place on the team, and unanimously said ‘we want this for you.’ I signed off on it and I take responsibility,” the American-Israeli athlete wrote in a subsequent post. He added that he apologizes “profusely” if fans were disappointed, but in a since-deleted post on X, he added that he does not apologize “at all” for the decision.

“The switch is not only common in our sport, we did it believing it was good for the country and to honor our teammate,” he said. “We thought we were putting country first.”

Team Israel finished the first two runs of the four-man bobsled competition with a combined time of 1:51.16, which placed them in 24th place out of 27 leading into the third heat on Sunday. Edelman and his teammate Menachem Chen also competed in the two-man bobsled race during the Winter Olympics.

In a statement given to The Times of Israel, the Olympic Committee of Israel claimed it did not allow the bobsled team to compete in the third heat on Sunday because they lied about a team member being sick in order to switch push athletes between the first two heats on Saturday and the third heat on Sunday.

“The bobsleigh team asked to include Ward, the substitute, in the competition. According to the rules, this is only permitted if one of the athletes is injured or ill,” the OCI said. “In order to make this possible, one of the team members — encouraged by his teammates — declared that he was unwell. He even went for a medical examination and signed an affidavit so that the Olympic Committee could request approval for a substitution.”

The OCI said that afterward, Zisman “admitted to the head of the delegation that he had acted improperly. This forced the Olympic Committee of Israel to withdraw the request and disqualify the move.” The OCI said that the team’s behavior was “improper” and “goes against fair and sportsmanlike conduct.”

In response to the OCI’s comments, Edelman told The Algemeiner that his team withdrew from the competition before the OCI took any action against them. “The process to change Ward to a primary accreditation is within the OCI control. The team’s withdrawal was within our own,” he said. “The team received a DNS, a ‘did not start,’ not a DSQ [disqualified].”

Bobsled was Israel’s only team sport at the Milan Cortina Winter Games. Edelman is Israel’s first multi-sport Olympian, after competing previously in skeleton, and he is also the first Jewish bobsled pilot to compete in the Olympic Games. He is additionally the most decorated observant Jewish Olympian and is believed to be the first Orthodox Jew to ever compete in the Winter Games.

Over the weekend, Italy’s state broadcaster RAI apologized after viewers heard on air someone tell others to “avoid” filming the Israeli bobsled team before it broadcast coverage of the four-man bobsled race at the Olympics on Saturday. Viewers heard, “Let’s avoid crew number 21, which is the Israeli one.”

RAI condemned the remark as “unacceptable” and RAI CEO Giampaolo Rossi said the incident represented a “serious” breach of the network’s “principles of impartiality, respect, and inclusion.” He added that RAI had opened an internal investigation to determine responsibility for the remarks and disciplinary proceedings.

Before the start of the 2026 Winter Games, an apartment in the Czech Republic where the Israeli bobsled team was staying during their final training was robbed, and passports and personal belongings were stolen. Then, during the team’s two-man bobsled race on Feb. 16, a commentator on the Swiss network RTS claimed on-air that Edelman “supports the genocide in Gaza” and should have been banned from the Olympics. The commentator also described the athlete as a “self-defined ‘Zionist to the core.’”

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Jewish Community Advocates Urge US Civil Rights Commission to Take Campus Antisemitism Seriously

A pro-Hamas demonstrator uses a bullhorn during a protest at the University of California, Los Angeles (UCLA) on March 11, 2025. Photo: Daniel Cole via Reuters Connect.

Jewish community advocates and civil rights lawyers discussed the campus antisemitism crisis in American higher education during two days of briefings and public comment held by the US Commission on Civil Rights last week, urging the agency to fight anti-Jewish hatred as aggressively as with other forms of discrimination.

Titled “Antisemitism on America’s College and University Campuses: Current Conditions and the Federal Response,” the forum served as one component of the commission’s bipartisan investigation of campus antisemitism, an inquiry led by Peter Kirsanow, a Republican, and Mondaire Jones, a Democrat. Drawing from advocates as well as critics of the Jewish community’s response to campus antisemitism, it highlighted work that remains undone while exposing some differences in opinion on Zionism, free expression on campus, and interpretation of Title VI of the Civil Rights Act, which prohibits discrimination based on race, color, or national origin in any program or activity receiving federal funding.

During the proceedings, several students who witnessed the onslaught firsthand described how the administrative bureaucracy, a branch of higher education governance dominated by the American progressive movement, stonewalled discrimination complaints, ignored utterances of classic antisemitic tropes, and refused to acknowledge rising antisemitism on the political left while accusing Jewish community advocates of assaulting academic freedom.

“I raised concerns repeatedly with administrators — but was met with silence or deliberate indifference. My peers faced retaliation in classic DARVO tactic: deny, attack, and reverse victim-offender roles,” said Sabrina Soffer, research fellow for the Jerusalem Center for Security and Foreign Affairs and a George Washington University alumna who sued the institution over alleged antisemitic discrimination. “We must stop this pipeline of hate in its tracks. Administrators must be held accountable for failing to enforce academic integrity and upholding their duty of care. We must scrutinize foreign funding, syllabi review, and the composition of academic departments.”

For several years before and since Hamas’s Oct.7, 2023, massacre across southern Israel, The Algemeiner has reported daily on campus antisemitism incidents which involved identity-based physical assaults, verbal abuse, and others acts of discrimination. These included anti-Zionists spitting on Jewish students at the University of California, Berkeley while calling them “Jew”; gang assaults at Columbia University’s Butler Library; swastika graffiti; the desecration of Jewish religious symbols; and the expulsion of a sexual assault survivor from a victim support group over her support for Zionism.

Other incidents include, a faculty group’s sharing an antisemitic political cartoon which marked Jews and Israel as enemies of people of color; a Cornell University student threatening to murder Jewish men, whom he called pigs, and to rape Jewish women, and perpetrate a mass shooting at the campus’ kosher dining hall; and professors praising Hamas’s Oct. 7 atrocities, which included mass murder, sexual assault, and kidnapping as legitimate modes of “resistance.”

Many such incidents preceded the Oct. 7 massacre by several years and received little to no coverage in the mainstream press.

Lenny Gold, executive producer of the campus antisemitism awareness documentary “The Blind Spot,” said during the hearing that higher education has hidden from the problem in lieu of addressing it transparently and vigorously.

“Schools often invoke academic freedom to justify their indifference to antisemitism while failing to recognize freedom’s inseparable partner: responsibility,” Gold said. “Academic responsibility includes eliminating the blind spot towards Jews and our inextricable connection to our ancient homeland, and having zero tolerance for antisemitism in classrooms, on campus, and in curricula, academic departments, and administrative staffs.”

He continued, “Anti-discrimination programs and policies must treat Jews an antisemitism on an equal footing with other protected groups and forms of prejudice.’

Soffer and Gold’s point of view sustained a slew of opposition during last week’s gathering, with some critic isms being uttered by Jewish students from elite colleges who accused the media and pro-Israel Jewish community of exaggerating the antisemitism crisis in the name of profits, ideology, and bullying the Ivy League. They also accused US President Donald Trump — whose daughter is Jewish and whose administration has mounted a legal campaign against campus antisemitism and the ideological bias that fostered it — of exploiting antisemitism to promote a political agenda.

“Since the Gaza War, I’ve felt more hesitant to tell people I’m Jewish, not because I’m scared of being the victim of a hate crime, but because I’m scared people will assume I’m against Palestinian people and associate me with the Trump administration’s anti-Palestinian rhetoric,” American University student Ellie Sweet told the commission, insisting that what is being described as antisemitism is harmless, anti-Israel rhetoric.

Another student, Sarah Silverman of Harvard University, screamed her entire seven-minute statement, in which she at one point charged that “policy described as protecting Jewish students did not make me feel protected!” She added, “Instead, in a deeply troubling way, I felt blamed. I knew I had done nothing wrong, but when decisions are made in your name without ever speaking to you but are affecting your academic community in extremely negative ways, you begin to worry that others believed you asked for these actions.”

A highlight of the event was testimony delivered by Kenneth Marcus, who served as assistant secretary for civil rights during the first Trump administration and currently leads the Louis D. Brandeis Center for Human Rights Under Law.

“Antisemitism does have various disguises, and anti-Zionism in that sense brings forward to the present all of the same tropes, the same stereotypes, the same defamations that have historically befallen the Jewish people, viewing Israel as the collective Jew or Jew among nations” he told the commission. “That is the form of antisemitism that we see most commonly on colleges campuses and that we need to address.”

Follow Dion J. Pierre @DionJPierre.

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German Minister Walks Out After Berlinale Winner Accuses Germany of Aiding Gaza ‘Genocide’ in Acceptance Speech

Director Abdallah Al-Khatib accepts the GWFF Best Feature Film Debut Award for “Chronicles From the Siege,” during the awards ceremony at the 76th Berlinale International Film Festival in Berlin, Germany, Feb. 21, 2026. Photo: REUTERS/Axel Schmidt

German Minister of Environment Carsten Schneider walked out of the awards ceremony at the 76th Berlin International Film Festival (Berlinale) on Saturday after a Palestinian-Syrian filmmaker accused Germany of being “partners in the genocide in Gaza by Israel” during his acceptance speech.

Schneider left the room following the remarks made by Abdallah Al-Khatib, whose film “Chronicles From the Siege” won the Berlinale’s best first feature award in the Perspectives section. “The Federal Minister considers these statements unacceptable and therefore left the event during the speech,” a spokesperson for Schneider said on Sunday, as cited by several media outlets. The minster was the only representative of the German government to attend the awards ceremony, a spokesman for his ministry told the German Press Agency.

Al-Khatib, who lives in Germany and wrote and directed “Chronicles From the Siege,” delivered his acceptance speech on stage with a keffiyeh draped on his shoulder.

“Some people told me, maybe you have to be careful before you say what I want to say now, because you are a refugee in Germany, and there are so many red lines. But I don’t care. I care about my people, about Palestine,” he said. “So, I will say my final word to the German government. You are partners in the genocide in Gaza by Israel. I believe you are intelligent enough to recognize this truth, but you choose to not care.” The filmmaker also held a Palestinian flag on stage and ended his speech with a call for a “free Palestine from now to the end of the world.”

“We will remember everyone who stood with us, and we will remember everyone who stood against us,” Al-Khatib added. He also claimed Palestinians in the Gaza Strip are living under “siege” and “occupation.”

Other Berlinale award winners also used their acceptance speeches to express solidarity with Palestinians or criticize Israel’s military actions in Gaza, during the country’s war against Hamas terrorists who orchestrated the deadly terrorist attack in southern Israel on Oct. 7, 2023.

While accepting the Golden Bear for best short film for “Someday a Child,” Lebanese filmmaker Marie-Rose Osta condemned Israeli bombings in Gaza and Lebanon, and what she called a “collapse of international law,” while also accusing the Israeli government of “genocide.”

“The people of Palestine, you are not alone,” said Turkish filmmaker Emin Alper, whose film “Salvation” won the Grand Jury Prize. “The people of Iran suffering under tyranny, you are not alone, the people of Kurdistan [you] are not alone. And my people, you are not alone,” he added.

Indian author Arundhati Roy pulled out of the Berlinale this year after jury president Wim Wenders said during the opening press conference that filmmakers should stay out of politics.

Earlier this month, more than 100 artists in the film industry – including Javier Bardem, Mark Ruffalo, and Tilda Swinton – signed an open letter criticizing the Berlinale for its “silence” about the situation in Gaza during the Israel-Hamas war and accused Israel of “ongoing genocide of the Palestinians in the Gaza Strip.”

“We call on the Berlinale to fulfil its moral duty and clearly state its opposition to Israel’s genocide, crimes against humanity and war crimes against Palestinians, and completely end its involvement in shielding Israel from criticism and calls for accountability,” the letter stated.

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