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‘The Gett,’ a play about Jewish divorce, stems from an unlikely marriage between a Brooklyn synagogue and a theater company
(New York Jewish Week) — Despite being named for a Jewish bill of divorce, ‘The Gett” is a new off-Broadway play that began as a marriage between a Reform synagogue in Brooklyn and a West Village theater company that specializes in “diverse, challenging and provocative” works.
At Park Slope’s Congregation Beth Elohim, Associate Rabbi Matt Green had been trying to expand programming for “cultural Jews” — those who don’t necessarily feel religious or connected to a denomination, yet know they are Jewish and want to be Jewish.
Meanwhile, at the Rattlestick Theater, artistic director Daniella Topol had just put on a play about the Catholic nuns who started downtown’s St. Vincent’s Hospital in the 19th century, and wanted to direct a play about Judaism for her next project.
When Topol and Green were introduced in 2018 by Rosalee Lovett, who sat on the boards of both institutions, co-commissioning a play seemed like a natural fit — however unconventional.
The result is “The Gett: Or How a Woman Created Herself,” an original play produced by Congregation Beth Elohim and showing at the Rattlestick through Dec. 11. The 95-minute production — written by and starring Liba Vaynberg — centers on Ida, a recent divorceé navigating her relationship with herself, her mother, her ex-husband Baal, Judaism and God. With the plot points structured around the seven days of creation, Ida’s relationship with her Baal (in Hebrew the word can mean “master” or “husband”) is laced with a double meanings. The viewer can see the couple’s sometimes dangerous and sometimes loving relationship as a metaphor for the Jewish people’s relationship with God.
“These are organizations that have gone deeply into what they do and do it well,” Vaynberg told the New York Jewish Week. “CBE is bringing the best it has and Rattlestick is bringing the best it has — as opposed to a situation where everybody’s bringing half. It’s a very full marriage.”
“What’s powerful about this play is that it has been a really community-based development and a really thoughtful development in partnership between a synagogue and a theater,” said Topol, noting that this is the Rattlestick’s first-ever Jewish play, and first partnership with a synagogue.
Despite the biblical trappings in “The Gett” — which also stars Jennifer Westfeldt, Ben Edelman and Luis Vega — the play is funny and modern. “We’ve tried a number of different things, but so far, this is one of our greatest successes to offer content that’s serious for people who call themselves culturally Jewish,” Green told the New York Jewish Week. “It’s really important to me that this play fosters a broader conversation, even in some small way, about what our institutions can be doing differently.”
Performances have been full so far at the 99-seat theater, with CBE encouraging congregants to see the show by offering group trips and programming surrounding the play, including talkbacks with Rabbi Green that explore the Jewish themes in the show. On Friday night performances, CBE holds Kabbalat Shabbat gatherings with the audience before the show.
Ben Edelman and Liba Vaynberg in “The Gett.” (The Chamber Group)
“We tend to deride cultural Judaism as if it’s somehow flimsy, or unserious, but if you look at the Pew study, it’s the fastest growing self-identified demographic in our community,” added Green, who also leads Congregation Beth Elohim’s “Brooklyn Jews” cohort, which is a community of younger congregants who are looking to engage Judaism through culture, food and ritual. “Yet we spend very little time as a Jewish establishment trying to really understand what cultural Judaism is.”
Other recent efforts to include these “cultural Jews” include reading and discussion seminars on queer Jewish writers, a meditation group and, perhaps most notably, an “intergenerational mixer” held in partnership with the lifestyle brand “Old Jewish Men of New York,” which got a write-up in the New York Times Styles section.
As for theater, the play really stemmed from CBE and Rattlestick’s desire to work together after realizing their mutual ambitions and interests.
At the Rattlestick, “We really focus as a theater on finding ways to look at stories that deal with the complexity of our culture,” Topol said. “I had been thinking for a while that we wanted to do something that related to the complexity of the American Jewish experience.”
It was something the theater community clearly was interested in as well: When Topol and Green opened a call for submissions, they received over 100. Vaynberg’s play was selected in early 2020.
For Topol, who is Jewish but always saw her Judaism as separate from her directing career, it was a theme close to her heart. “In terms of what Jewish stories are represented on the stage, it feels like there’s some room to really explore some of those key questions that American Jews are wrestling with: identity, intermarriage, having children, ritual, how much do you carry on ritual or not, what your affiliation is or isn’t with Israel, with the Holocaust, with politics,” she said.
“It’s a swirl of all of those sorts of questions that felt kind of worth some creative expression in terms of the theater,” Topol added. (As it happens, “The Gett” will be the last play Topol directs in her six-year career with the Rattlestick — next, she will switch careers and study to become a nurse.)
Once Vaynberg’s play was selected in early 2020, the playwright unexpectedly had extra time to finesse the show. Due to the COVID-19 pandemic, the Rattlestick closed temporarily and put the production on pause.
Vaynberg used the extra time to increase community involvement. She spoke with several women who are synagogue members who had gone through a divorce. She and Green conducted several roundtable discussions and focus groups to further explore congregants’ Jewish identities and how it has manifested in their relationships.
Vaynberg and Green created a “chavrusa,” a study partnership, to explore biblical and religious implications of the questions she had about creation, Jewish marriage and divorce and how much power a person has in their relationship with God.
Some themes in the play probe the same questions about cultural Judaism that Green had been asking at CBE. Protagonist Ida, for example, deeply cares about her Judaism and Jewish identity, and yet has trouble explaining just why and how it’s so important to her on a date with a non-Jewish man.
“By going to this play, you are engaging with Judaism,” Green said. “It’s not just about inspiring people to be involved with Judaism, but actually, it is a Jewish act to see this play.”
“This isn’t something synagogues do — it’s sort of strange,” Green remarked. “We want to do things differently and we as a congregation, want to inspire other congregations, other Jews, to do things differently.”
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The post ‘The Gett,’ a play about Jewish divorce, stems from an unlikely marriage between a Brooklyn synagogue and a theater company appeared first on Jewish Telegraphic Agency.
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‘Marty Supreme’ and everything else Jewish at this year’s Academy Awards
At last year’s Academy Awards, Anora — a frenetic, somewhat ambiguously Jewish look at a Jewish enclave of New York, took home best picture, original screenplay, director and actress for its Jewish lead Mikey Madison. This year, we have a film that feels, in some ways, quite parallel, while cranking the Yiddishkeit to 11: Josh Safdie’s breathless picaresque Marty Supreme, set on the Lower East Side, is up for best picture and its star, Timothée Chalamet is a favorite for best actor.
There’s also Blue Moon, Richard Linklater’s portrait of Jewish lyricist Lorenz Hart’s breakup with composer Richard Rodgers (Ethan Hawke is up for best actor). And One Battle After Another, a campy and absurdist satire about the infiltration of white supremacists in the U.S. government, is poised to have a massive night, with the blockbuster Sinners serving as its main competition.
That all goes to say that it’s another great year for Jewish stories at the Oscars, with some really compelling fodder for discussion about the place that Jews occupy today in arts and media. What stories are we telling and how are they received?
Here, as ever, the Forward culture team is here to break it all down for you, live as it unfolds. Of course, we cover Jewish movies all year. But at the Academy Awards, we get to see how the rest of the world feels about these movies. We will be updating this story with our thoughts throughout the ceremony.
Traditionally, as we begin these Oscars roundtables, we discuss what we’re all wearing and eating. What’ve we got?
Olivia: brown sweater and jeans; no food but aggressively chewing mint gum. I will later be drinking some of the seltzer I got from Brooklyn’s Seltzer Fest today.
Mira: I did a bunch of cooking for the week so I have vegetarian avgolemono soup and Alison Roman’s fennel salad. (I’m obsessed with this salad.) I am proudly wearing hard pants.
PJ: I am reheating some chicken from last night. Wearing a blue sweater with a little toggle and jeans. How many of Stellan Skarsgård’s large adult sons are here? In other l’dor v’dor news, Bill Pullman just mentioned how they filmed the Spaceballs sequel with his son Lewis.
Talya: I believe I’m wearing the exact same sweater I donned for this event last year — where’s my award for consistency? And, as always, sweatpants; I cannot comprehend suffering through this event in jeans.
Discussion of Israeli-Palestinian protests on the red carpet
Mira: Love a toggle. Speaking of outfits, anyone have thoughts on Odessa A’zion’s spangled red carpet set? She is one of the only people who styles herself on the red carpet, which I do respect.
Olivia: A’Zion’s outfit kind of looks like she forgot to tie whatever was supposed to be holding it up. I don’t think it looks bad, just like it’s falling down.
PJ: It wouldn’t look out of place hanging from the window of a VW van with shag carpet and some Tibetan prayer flags.
Mira: Of note, the past several years have seen protesters approaching people on their way into the ceremony, and a lot of pins on the red carpet taking a stance on the Israel-Hamas war, largely pro-Palestinian ones. We’re seeing less of that this year — though not none. Javier Bardem posted a photo of him wearing a pin reading “no to the war” in Spanish, along with another pin featuring Handala, a cartoon boy considered a symbol of Palestinians. The team of The Voice of Hind Rajab, nominated for best foreign film, are also wearing red pins with a white dove.
PJ: Those have replaced the red hand ArtistsforCeasefire pins, which some said recalled the bloody palms of Palestinians who killed IDF soldiers in 2000.
Olivia: A reporter for ABC in a pre-recorded segment asked executive producers and showrunners for the ceremony Raj Kapoor and Katy Mullan if anything would get bleeped, such as mentions of Trump, Israel and Palestine. Recently, the BBC removed director Akinola Davies Jr’s call for a “Free Palestine” from their BAFTA stream. Kapoor asserted that the night’s production team supports free speech, but we’ll see what transpires over the course of the night.
The post ‘Marty Supreme’ and everything else Jewish at this year’s Academy Awards appeared first on The Forward.
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US Sends Additional Arms to Israel to Sustain Iran Operations
The first of two Terminal High Altitude Area Defense (THAAD) interceptors is launched during a successful intercept test. Photo: US Army.
i24 News – The United States has recently increased shipments of munitions to Israel to support ongoing Israeli air operations against Iran.
According to reports broadcast by the public radio network Kan Reshet Bet, several weapons deliveries have arrived in Israel in recent days as part of what officials describe as an ongoing airlift aimed at sustaining the pace of military strikes.
Since the start of the campaign, Israeli forces are believed to have dropped more than 11,000 bombs on targets across Iran.
The shipments come as reports emerge about a potential shortage of ballistic missile interceptors in Israel. US officials told the news outlet Semafor that Israel’s interceptor stockpiles have been heavily used during the conflict.
According to those sources, Washington had already been aware for months that supplies could become strained, though it remains unclear whether the United States would be willing to share its own interceptor reserves. Israeli officials have since rejected claims that such a shortage exists.
Unlike the Iron Dome, which is designed to intercept short-range rockets and projectiles, ballistic missile interceptors serve as Israel’s primary defense against long-range missile threats. Fighter jets can also be used to attempt interceptions, though this method is considered a supplementary measure to missile defense systems.
Meanwhile, the Israeli government has taken additional budgetary steps to support the war effort. During an overnight vote between Saturday and Sunday, ministers approved a roughly 1 billion shekel reduction across various ministry budgets to help finance classified military purchases linked to Operation “Roar of the Lion.”
The government had already approved a 3 percent cut in ministry budgets, a move expected to increase the defense budget by approximately 30 billion shekels as the conflict continues.
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Pope Leo Decries ‘Atrocious Violence’ in Iran War, Urges Ceasefire
Pope Leo XIV leads the Angelus prayer from a window of the Apostolic Palace, at the Vatican, March 15, 2026. Photo: REUTERS/Matteo Minnella
Pope Leo made an impassioned plea on Sunday for an immediate ceasefire in the expanding Iran war, lamenting “atrocious violence” that he said had killed thousands of non-combatants and caused suffering across the region.
As the US-Israeli war on Iran enters its third week, the first US pope warned that violence would not bring the justice, stability and peace that the peoples of the region long for.
“For two weeks, the peoples of the Middle East have been suffering the atrocious violence of war,” the pope said at his weekly Angelus prayer in St. Peter’s Square.
“In the name of Christians in the Middle East and of all women and men of good will, I appeal to those responsible for this conflict: Cease fire!” Pope Leo said.
IDEA THAT WAR SOLVES PROBLEMS IS ‘ABSURD’
Leo added that the situation in Lebanon – ravaged by a war between Israel and the Iran-backed Lebanese group Hezbollah – was also a cause of “great concern.”
“I hope for paths of dialogue that can support the country’s authorities in implementing lasting solutions to the serious crisis currently underway, for the common good of all the Lebanese people,” the pope said.
During a visit to a Rome parish later, the pope said war could never resolve problems and hit out at people who invoke God to justify killings.
“Today many of our brothers and sisters in the world are suffering because of violent conflicts, caused by the absurd claim that problems and disagreements can be resolved through war, when instead we must engage in unceasing dialogue for peace,” he said during his homily.
“Some even go so far as to invoke the name of God to justify these choices of death, but God cannot be enlisted by darkness. Rather, He always comes to bring light, hope and peace to humanity.”