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Picking a new rabbi? A new novel about a church shows how
(JTA) — About a decade ago, I served on my synagogue’s rabbinic search committee. Normally I am allergic to any activity at which minutes will be taken, but it was a great experience, thanks to the care and intelligence that my fellow committee members brought to the process. Flush with satisfaction for a job well done and probably a little full of ourselves, we even imagined other synagogues might learn from our example. We spoke about putting together a seminar, or perhaps a how-to book.
No one, I recall, suggested turning the experience into a novel.
That’s why I’m not Michelle Huneven, who this year published a novel about a church’s search for a new minister. I’ve been recommending it to anyone who wants to understand shul politics, or wants reassurance that Jews are just like everybody else, no more and no less.
“Search” is narrated by Dana, a 50-something restaurant critic, former seminarian and once-active congregant at a Unitarian Universalist church in Arroyo, California, who is recruited to the search committee when the current pastor announces plans to retire. The book tracks the search process from in-house focus groups to Skype interviews with applicants to the finalists’ “candidating week” — what you and I might call “auditions.”
Despite an unlikely premise for a mainstream novel, ”Search” is a smart, funny and enlightening book about contemporary religion, especially of the liberal, undogmatic variety that is typical of Unitarian Universalism and, well, much of non-Orthodox Judaism. It’s a worthy companion to “The New Rabbi,” Stephen Fried’s 2002 nonfiction book about a Philadelphia-area synagogue and its own search.
Huneven captures the impossible nature of a clergy person’s job, and especially the unrealistic expectation of congregations that want their spiritual leader to be all things to all people. Trying to narrow down what they are looking for, members of the search committee call out qualifications:
“‘Sermons with more spiritual depth and intellectual content,’ said Charlotte.
“‘Someone with an efficient, organized management style,’ said Belinda.”
Wonders Dana: “Who didn’t want a warm presence with a progressive social conscience, the management skills of a corporate CEO, and the work-life boundaries of a New Age life coach?”
As the Conservative movement’s Rabbinical Assembly warns in its manual for search committees, searches founder “not because of a dearth of qualified candidates but because the congregation’s expectations of rabbinic candidates is unrealistic.”
Regular synagogue-goers will recognize the tensions in the novel between the older members and the newcomers, between boomers and millennials, between theists and humanists. At one point, the assistant minister remembers when a midweek service led by a student intern began attracting a core of people who weren’t showing up on Sundays.
“You can’t have two congregations, no matter how small one is,” she explains. “It sets up a potential schism.”
Clergy searches are fraught because nearly every congregant regards themself as the rabbi’s boss. On the flip side, members grow attached to longtime rabbis, even when they outlast their changing congregations. In “Search,” the senior minister has been with the church for eight years, but remains under the shadow of his beloved predecessor, who had served for 28 years. (I was married by the “new rabbi” at my wife’s family’s synagogue, who at that point had been on the job for about 20 years.)
“Search” isn’t a satire, exactly, but Huneven has fun with the political and social winds that are blowing through liberal denominations. Some of the congregants are set on hiring a woman after almost four decades of male leadership. “But we can’t say that explicitly,” Dana warns. Another character is angling to be the head of the national church association, “though it’s not such a clear shot for straight white guys these days,” says a church consultant.
Unitarian Universalist, or UU, churches are also staunchly secular, which means the clergy don’t have to express a belief in God, let alone Jesus or a strict theology. That brings with it the paradox of choice: “Our ministers can be gay, trans, Buddhist, atheist, any race, or same-sex adoptive parents with mixed-race families. You name it,” says a member of the committee. “That’s the future. Everybody’s in.”
I would guess that a lot of liberal synagogues would love to be as open and diverse as that, but bump up against the reality that, despite a growing number of Jews by choice and Jews of color, synagogues tend to be white, upper-middle-class and heteronormative. As for theology, rare is the synagogue that doesn’t want its rabbi to “have been inspired to serve God,” as the R.A. handbook puts it; on the other hand, search committees disagree about how much theology and “God talk” they want from the bima.
And yet, even the most secular UU church or most liberal synagogue pursues the sacred in the ways they gather, worship, mourn and serve the community. As the squabbles intensify in “Search,” one older member of the committee laments that they’ve lost sight of their goal: how the search for a new clergyperson is a “a sacred task that will grow us spiritually.”
During my time on the search committee, I saw the sausage-making of synagogue life. Compromise is always hard. Even the most thorough, transparent search process is bound to disappoint someone.
And “Search” the novel can be, at times, as tedious as a real-life rabbinic search, as characters deliberate over candidates at painstaking length. But Huneven understands that holiness is not just a matter of reading from a prayer book or studying from a text, but lives in the way people create communities and choose their leaders. It’s a messy process, but if you do it in good faith and in a spirit of humility, you might end up with a pretty great rabbi.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”