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Purim and Lion’s Roar: From Sinai to Shushan to Sovereignty
A woman holds a poster with the picture of Iran’s Supreme Leader Ayatollah Ali Khamenei as people gather after Khamenei was killed in Israeli and U.S. strikes on Saturday, in Tehran, Iran, March 1, 2026. Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
I am writing this from Israel. Since roughly 8:10 a.m. on Saturday morning, my family and I — including my grandchildren — have been moving in and out of our apartment’s mamad (safe room) as sirens sound and alerts flash across our phones.
This is not symbolic. For more than two and a half years, it has been part of our routine, largely because an Islamist tyranny that controls modern Persia has made clear its intention to destroy the world’s only Jewish state and confront what it calls the “decadent West.”
Purim begins this Monday night. It is one of the most joyful holidays on the Jewish calendar. We commemorate events roughly 2,300 years ago, when the Jews of the Persian Empire thwarted the genocidal plan of Haman, a Persian vizier who sought to eliminate every Jew under ancient Persian rule.
The connection between then and now is not only rhetorical. It is theological.
The Jewish sages distinguish between two moments of covenant in Jewish history. At Mount Sinai, the Jewish people accepted the Torah amid overwhelming miracles and revelation. The Midrash (the rabbinic interpretive tradition) describes G-d holding the mountain over them “like a barrel.” The Talmud asks whether a covenant accepted under such circumstances can truly be considered voluntary.
Centuries later, in Shushan (the royal capital of the Persian Empire), the Jewish people accepted the covenant again — this time by choice. Megillat Esther (the Book of Esther) states, “The Jews upheld and accepted.” The Talmud understands this as a reaffirmation of Sinai, but now without thunder, seas splitting, plagues, or other spectacular and clearly divine miracles.
A royal Persian decree had set a date for annihilation. The Jews organized, fasted, lobbied the king, and prepared to defend themselves. According to our sages, it was at that moment that the covenant became fully embraced.
Sinai represents a covenant formed through revelation. Purim represents a covenant embraced through responsibility. That distinction matters.
The Book of Esther never mentions G-d explicitly. Unlike the Exodus narrative in the Passover Haggadah, which foregrounds Divine intervention, the Book of Esther reads like statecraft. A Persian official secures authority to eliminate a minority population. The decree circulates through an imperial bureaucracy. The Jewish community must decide how to respond.
“Gather the Jews,” Mordechai tells Esther. This is strategic, not mythical, language.
The Jews of Shushan survived because they took responsibility for their fate and they acted.
That pattern has a modern parallel.
For decades, the Iranian regime has funded, armed, and directed groups that target Israelis and Americans — whom it labels the “little Satan” and the “big Satan.” From Beirut to Buenos Aires, from sustained support for Hamas, the Houthis, and Hezbollah, Tehran has made proxy warfare against America and Israel a central instrument of state policy.
At the same time, Iran has advanced uranium enrichment and ballistic missile programs while engaging in negotiations designed to preserve those capabilities.
Days before Purim this year, Israel and the United States launched Operation Lion’s Roar, referred to in Washington as Epic Fury.
Iranian leadership assumed hesitation would prevail — that Western debate would slow or negate response, that deterrence would erode, and that proxy pressure, escalating threats, and negotiations designed to buy time would delay decisive action. They were wrong. Once again, Israel directly responded to threats against it.
History offers important perspective.
In 1948, roughly 650,000 Jews declared independence, while five Arab armies responded by trying to destroy it, including the British-trained and armed Arab Legion. The new state lacked air power, heavy artillery, and strategic depth. Many predicted its total annihilation. But Israel fought, won the war, and secured its independence.
In 1967, Gamal Abdel Nasser closed the Straits of Tiran, expelled UN forces from Sinai, and massed Soviet-armed Egyptian divisions along Israel’s border. Syrian artillery shelled the north. Jordanian forces controlled the high ground overlooking central Israel. At its narrowest point, the country measured nine miles across, with a population of barely 2.5 million facing neighboring states with a combined population of roughly 40 million.
Israelis feared catastrophe; thousands of graves were prepared. Six days later, Israel won the war and dramatically altered the map of the Middle East.
In October 1973, on Yom Kippur, fewer than 200 Israeli tanks faced roughly 1,400 Syrian tanks on the Golan Heights. Reinforcements were hours away. A breakthrough would have exposed the Galilee and major civilian centers. The line held. Syrian armored forces suffered heavy losses.
In Sinai during that same war, Egypt’s surprise assault initially overwhelmed Israeli positions. Weeks later, Israeli forces crossed the Suez Canal, encircled Egypt’s Third Army, and advanced to within roughly sixty miles of Cairo.
In 2024, Israeli intelligence penetrated Hezbollah’s communications networks, disrupted command structures, and eliminated most of its senior leadership. Analysts who insisted Hezbollah was effectively unbeatable without catastrophic Israeli losses were forced to watch its capabilities steadily collapse.
None of these episodes suspended natural law. They reflected decisions made under tremendous pressure. And this is where the story of Purim becomes essential: when open miracles are absent, G-d works through human agency.
For centuries in exile, Jewish communities survived, often barely, without sovereignty. Waiting was frequently the only option. But Purim established a different principle: divine providence does not remove human agency; it operates through it.
Political Zionism functioned in that mode. No prophet guaranteed success. No spectacular miracle cleared its path. Zionist leaders organized congresses, negotiated with empires, purchased land, built institutions, and formed defense forces. They acted.
Sovereignty eliminates the option of passivity. It requires decisions, risk, and accountability.
As I write this, the sirens keep sounding. As usual, Israelis will gather our children and move into reinforced spaces. We will follow Home Front Command instructions. When the all-clear comes, we will return to our lives as citizens of a sovereign Jewish state.
Some clearly prefer the image of Jews as permanent victims — admired or to some degree tolerated because they are powerless. Purim rejects that model. When we gather, mobilize, defend, and take responsibility — whether on the Golan in 1973, in intelligence and military operations against Hezbollah, or in confronting nuclear and missile threats from Tehran — we act in the spirit clarified in Shushan.
Jewish survival in the modern age rests on agency — on the willingness to participate in history rather than endure it. May this be the last Purim in which a tyrannical regime in Persia threatens the Jewish people and the free world. Next year (and hopefully much sooner), we hope Iran will be free of its oppressors — and at peace with Israel.
Micha Danzig is an attorney, former IDF soldier, and former NYPD officer. He writes widely on Israel, Zionism, antisemitism, and Jewish history. He serves on the board of Herut North America.
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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.”