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The quest to replace Park East Synagogue’s 92-year-old rabbi is not going smoothly
(New York Jewish Week) — More than a year after it attracted attention for the abrupt termination of its popular assistant rabbi, Manhattan’s Park East Synagogue was again the scene of a heated squabble on Sunday.
And like last time, the spat centered on who will succeed the Orthodox congregation’s 92-year-old spiritual leader, Rabbi Arthur Schneier.
In the time since the former assistant rabbi, Benjamin Goldschmidt, was ousted, no one has been appointed to take Schneier’s place after his tenure ends. The synagogue announced a search for a “worthy successor” to Schneier 11 months ago, and a public event on Sunday night was supposed to herald the next stage in that process. A candidate for the position, Rabbi Yitzchok Schochet, delivered an hour-long lecture to a crowd of 100 people, including members of the search committee.
But following the talk, the event held in the synagogue’s Charles Brooks Ballroom devolved into a verbal sparring match between Schochet, the rabbi of London’s Mill Hill Synagogue, and Kalman Sporn, a political consultant who describes himself as a “human rights activist.” Sporn questioned Schochet’s past outspoken opposition to same-sex relationships. Schochet claimed that Sporn was engaging in “cancel culture.”
“Park East’s bimah is New York’s hallowed ground for human dignity,” Sporn told the New York Jewish Week. “It must not become a pulpit for prejudice.”
Michael Scharf, who serves on the rabbinic search committee, told the Jewish Week in an emailed statement that Sporn’s comments were “disrespectful” to Schochet.
“Rabbi Schochet is a most distinguished Rabbi with a demonstrable record of great accomplishment, an incredible speaker, a true man of faith, and certainly not one who should be the subject of a smear and libelous campaign emanating from a group of nasty malcontents who obviously did not listen to Rabbi Schochet’s eloquent rejoinders to their issues,” Scharf wrote.
Rabbi Yitzchak Schochet spoke at Park East Synagogue on Sunday about the pursuit of happiness, when some synagogue members began to question him about his record on LGBTQ and Palestinian issues. (Zoom Screenshot)
The incident has prompted congregants to consider whether Schochet has the right temperament to lead a congregation that has hosted a succession of dignitaries, including Pope Benedict XVI. Critics say Schochet’s history of controversy, in addition to his response to being criticized on Sunday, do not accord with the synagogue’s self-image as a distinguished public forum.
And the drama Sunday night has raised the same question that has nagged at the synagogue for more than a year: Who is a fitting replacement for Schneier, a longtime religious freedom activist and former U.S. alternate representative at the United Nations?
Goldschmidt, who was popular among young congregants and was once seen by some as Schneier’s heir apparent, was fired in October 2021. He was subsequently derided by Schneier’s allies as lacking the education and gravitas needed to lead the synagogue. That dispute ended with Goldschmidt founding a breakaway congregation, the Altneu, which also meets on the Upper East Side and has attracted a growing membership.
“Park East has a problem where they really haven’t had a rabbi for many years,” said one member who, like several who discussed the synagogue’s internal debates, wished to remain anonymous. “We’re down on people coming on Saturday. The schools are a problem. Covid hurt us. [Rabbi Schnier] is 92, so on a day-to-day basis, he hasn’t really been involved.”
Schochet, 58, is a Chabad-affiliated rabbi who has held a number of prominent positions in British Jewish communal organizations. For three decades, he has been the rabbi of London’s Mill Hill United Synagogue, an 1,800-member Orthodox congregation in northwest London. According to a biography on the synagogue website, he has also served as the chairman of the Rabbinical Council of the United Kingdom’s United Synagogue, and as a member of the British Chief Rabbi’s cabinet.
But Schochet has also faced backlash for his comments about Palestinians and their supporters. In 2018, the British Holocaust Memorial Day Trust condemned Schochet for referring to Jews who said Kaddish for Palestinians as “kapos,” or Jews who served in positions of authority in Nazi concentration camps.
In 2015, Middle East Monitor, a pro-Palestinian media outlet, criticized Schochet for two tweets he had written four years earlier in response to a user called “Jew4Palestine.” In one, he wrote, “I have a spare Israeli flag if you want to hang yourself on it.” In the second, commenting on unemployment statistics in Gaza, he wrote, “Then again if you include terrorism as work, it’s 100% employed.” Soon afterward, Schochet was removed as a patron of a charity called Faith Matters.
At the meeting on Sunday, however, much of the criticism of Schochet revolved around his past public opposition to same-sex marriage. Jewish law has traditionally prohibited same-sex relationships, and refusing to conduct same-sex weddings remains normative practice among nearly all Orthodox rabbis.
In 2011, Schochet said that “the time-hallowed sacredness of marriage should always be preserved.” In 2012, the rabbi called gay marriage “an assault on religious values.” That same year, he penned an essay for PinkNews, an LGBTQ-focused publication, called “Homosexuality is prohibited in Orthodox Judaism but so is eating bacon, everyone is welcome.”
In 2014, England, Scotland and Wales legalized same-sex marriage. The following year, Schochet wrote that the Torah prohibits homosexual acts, but does not condemn a person for having homosexual feelings.
Schochet did not respond to a New York Jewish Week request for comment.
Sporn has posted tweets criticizing Schochet’s positions, and at the meeting on Sunday, brought up Schochet’s record of controversial statements during the question-and-answer portion of the event.
“I personally have been troubled by some of the positions you have taken in the past,” Sporn said. “You have openly fought efforts for marriage equality, while you want gay people to in your words feel reassured that they are always welcome into synagogues.”
Sporn was eventually cut off from using the microphone. Schochet responded, saying he had seen Sporn’s tweets. He said he had been invited to write an essay for PinkNews in 2012 “precisely because I was deemed as being the more moderate amongst all the Orthodox rabbis on gay issues.”
He added that the previous year, in a segment that aired on the BBC, he defended a gay couple who were denied access to a hotel room by a Christian owner. Schochet also said that a high-ranking member at his synagogue was gay.
“To everyone’s surprise, other than my own and those who know me to be a liberal conservative, I argued that everyone has a right to uphold their religious convictions without compromise,” Schochet wrote in a blog post about the BBC broadcast. “However, what you cannot do is look to impose those on others. That’s religious fundamentalism.”
In that same blog post, Schochet doubled down on his opposition to gay marriage. “If you choose to reject religion and lead a gay lifestyle, or conduct extra marital affairs, then frankly that is your business,” Schochet said. “That I choose to frown upon what you do because my G-d says it is wrong is very much my entitlement.”
Schochet then began to criticize Sporn, mentioning Sporn’s involvement in a scheme to apportion Catholic papal knighthoods for cash.
“You and I can go on canceling each other all night long,” Schochet said. “Cancel culture, which is the scourge and the malaise of our 21st century is, in the words of Barack Obama, scorched earth, partisan politics, where people we disagree with are maligned.”
(In 2019, regarding condemnations of people on social media, Obama said, “That’s not activism. That’s not bringing about change, if all you’re doing is casting stones, you’re probably not going to get that far. That’s easy to do.” A column on the Jewish website Aish.com about Obama’s comments does criticize “this scorched-earth partisan politics – where people with whom we disagree are denied a fair hearing and a voice in public life.”)
Schochet continued, “it divides families, it divides society, it tears apart relationships, it polarizes and pits people against one another. We may always be two Jews as indeed we are with three opinions, but we should always maintain one heart. I invite you to join me in that mission statement.”
When he finished, the crowd erupted into applause. The room became calm, until later, another member of the congregation, who did not use a microphone, stood up and confronted the rabbi about his exchange between him and Sporn — leading Schochet to apologize to Sporn.
“If I did embarrass you, I do genuinely apologize to you profusely and I hope you forgive me, and I mean that sincerely,” he said.
Addressing the crowd following the incident, Schneier — who has led Park East for more than 60 years — said, “When it comes to the selection of a rabbi, it is entirely up to the membership.”
“The purpose of Rabbi Schochet coming here with us, some of you did not have a chance to to hear him, to meet with him, and now I hope you get to know him a bit better,” Schneier said. “All kinds of rumors, forget about them.”
Schochet’s reaction to Sporn was “a personal attack,” the member who wished to remain anonymous said. He added that Schochet’s conduct did not reflect the decorum the synagogue strives to maintain.
“He ganged [the crowd] up in a mob mentality where they cheered for him,” the member told the Jewish Week. “Instead of answering the question, he attacked him. [Schochet] had such a great opportunity to be diplomatic. This guy is not diplomatic on an interview. Could you imagine if he had a contract? This is almost beyond belief.”
This member also said that Schochet is the only rabbi who has been brought to the synagogue by the search committee.
Another synagogue member told the Jewish Week that Sporn’s tweets attacking Schochet provided critical context for their exchange.
“It did not come across to me as embarrassing to Kalman,” the member said. “It came across to me as Rabbi Schochet saying that what you’re doing is being unfair.”
He added that what is getting lost amidst the squabble is that Park East “is looking for a rabbi.”
“Every member should have the opportunity to come and ask questions,” the member said. “The sense I had from people is that they got a really good understanding of where Rabbi Schochet stands on the issues. Yes, Kalman brought up an issue, and Rabbi Schochet apologized.”
That member said no decisions have been made thus far as to who will be hired.
Meanwhile, Avital Chizhik-Goldschmidt, the wife of Benjamin Goldschmidt, told the New York Jewish Week that the new synagogue they started is “only growing” and that she hasn’t followed developments at her husband’s old congregation.
“I really don’t have anything to do with that place,” Goldschmidt said of Park East Synagogue. “We have moved on.”
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The post The quest to replace Park East Synagogue’s 92-year-old rabbi is not going smoothly appeared first on Jewish Telegraphic Agency.
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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.”