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This Jewish studies professor won $60,000 on “Jeopardy!” — despite missing out on a question about Yom Kippur
(JTA) — The most notable message Melissa Klapper got during her four-night run this week on “Jeopardy!” didn’t come because the Jewish studies scholar was unable to answer a question about Yom Kippur. It also wasn’t an unkind note from a game-show stickler who believed she’d gotten credit for a wrong response.
Instead, it was an email from a past student who recognized herself in the story Klapper told as part of her self-introductory stage banter — a staple of the game show. Klapper, who teaches history at Rowan University in New Jersey, described accusing a student of having plagiarized her paper.
The student then replied, Klapper recalled, that she “didn’t know [it] was plagiarized when she bought it.” The anecdote yielded laughs from host Ken Jennings and the two co-contestants whom Klapper later defeated to notch her third win.
After the episode aired Wednesday night, Klapper heard from the former student, whose name she had previously forgotten.
“She watches ‘Jeopardy!’ and when she was watching that interview, she thought to herself, this is about me,” Klapper told the Jewish Telegraphic Agency. “And she wrote to me to apologize. She’s a teacher now and, I think, is more understanding of why what she did was really not good. And I really appreciated it. It was kind of brave of her to get in touch with me after all these years.”
The experience was a fitting highlight of Klapper’s run on the show, which ended Thursday with a third-place finish and total winnings of $60,100. She said it was her training as an educator — not her education in Modern Orthodox schools or her scholarship on Jewish women, immigrant children and more — that prepared her for success on the show.
“I’m up in front of people all the time,” said Klapper, who is active in the Association for Jewish Studies and whose most recent book, “Ballet Class: An American History,” was published in 2020. “I do not have stage fright.”
Klapper spoke with JTA about her Jewish background, her research interests and how her most religiously observant friends managed to watch her on TV.
This interview has been condensed and lightly edited for clarity.
JTA: First, I have to ask: Last night, did you end up with $1,800 on purpose? That’s a very Jewish number.
Klapper: No! That’s so funny. It didn’t even occur to me.
How are you feeling this morning? Any initial reflections on your appearance now that it’s over?
These shows were recorded in January, so I’ve had time to come to peace with what happened. I was disappointed not to win another game — or two. But Alec, the guy who won last night, was just unstoppable on the buzzer. Knowing the answers is not enough to do well in “Jeopardy!” You also have to have good hand-eye coordination, which I do not. I would say I knew the vast majority of answers but I often just could not get the buzzer in time. Once I knew I was going to be on the show, I did sort of sit at home and practice with a ballpoint pen, but it’s not the same.
I will say the fact that I couldn’t be fast enough to answer the Yom Kippur clue was pretty frustrating. [The clue was about a Jon Stewart quip about the Jewish day of atonement.] And I heard about that — I got a lot of fun teasing from some of my Jewish friends who were sending me helpful emails with links to the dictionary.com definition of Yom Kippur.
Can you share a little bit about your relationship with “Jeopardy!”, how you came to be on the show and your general reflection about your experience?
I grew up in a household where we watched “Jeopardy!” when I was kid. We had a “Jeopardy!” board game that I would play with my parents and my sister and I actually tried out for the teen tournament when I was in high school. Those were the days that you had to go in person, so my parents very kindly drove me into D.C. when we heard that there would be a tryout. I didn’t get past the first round — I didn’t know anything about sports, and I still don’t know that much, although I answered a surprising number of sports questions.
In the last few years I started to watch more regularly and it occurred to me, you know, I really think I could do OK on this show. I made it into the contestant pool the first time I took the online test, but I did not get called. The day after my 18 months [in the pool] ended, I started the process again, but I sort of assumed I would never hear from them again — especially because they asked you to write down dates when you can’t come and I had to write that I was not available during the semester — and, oh, also on Jewish holidays. But they called me for winter break.
They record five shows in a day, and all of mine were on one day. There’s about 10 minutes between shows when you change your top and can have a drink and then go right back onstage. It was just — really, it was all a blur. If you’d asked me at the beginning of this week what any of the categories were I would have been very hard-pressed to tell you.
You got some clues that seemed ready-made for a Jewish contestant such as one about Philip Roth’s “Portnoy’s Complaint” and another about Jack Antonoff, the Jewish musician and producer. What is your Jewish background like and were there moments where you felt like that gave you some kind of advantage?
Now I live in Lower Merion, Pennsylvania, which has a large observant Jewish community. My husband and I belong to a Modern Orthodox synagogue and we are involved in a partnership minyan, Lechu Neranena.
I went to Jewish day school my whole life, kindergarten through 12th grade, first at Akiba Academy of Dallas and then Bais Yaakov of Baltimore, which was the only girls high school and where I got a very solid education and was encouraged to pursue my intellectual ambitions. I went to Israel right after high school before I started college. So I have a very intensive Jewish educational background, and throughout my education and all the schools that I went to, I found a lot of encouragement for my innate nerdiness.
So I’m not sure I could draw a direct line, but what I will say is that in the Jewish educational environment I grew up in, matched by an extremely Jewish traditional home, there was just a huge, enormous value on reading and books and learning, and I think that makes a difference.
I will say I don’t think I knew about Jack Antonoff because he’s Jewish — I knew him because of Taylor Swift.
Were there Jewish highlights of your experience, either on the show or behind the scenes?
They do not pay for you to go out to L.A. You’re responsible for your own travel, but they do provide lunch. I asked if it would be possible to get me a kosher lunch, and they immediately said yes, which I appreciated. There was no question or back and forth about it. I got a salad with a ton of protein that could take me through the day.
And then this is a little funny, but I have friends from across the spectrum of Jewish practice, or lack thereof. Some of my more traditionally observant friends don’t own TVs and wouldn’t have TVs in their houses — but they have been watching the show on YouTube every day because they have no other way to watch.
Your scholarship in American history and Jewish studies has been wide-ranging, and you’ve written books about American Jewish women’s activism, American Jewish girlhood and, most recently, ballet. How did your work as a scholar and a teacher prepare you for your appearance or dovetail with it?
I’m a teacher. I’m up in front of people all the time. I do not have stage fright. I give a lot of public talks of various kinds, in academic venues or community settings. And so I did not have any problems speaking or talking to Ken [Jennings] during the short interview period — that is not a problem for me. And for some contestants, it really is. They’re not used to just speaking in public at all like that. My professional background prepared me very well.
I have to ask about the big controversy. [Some viewers believed Klapper offered “Gregor” rather than “McGregor” as the response to a clue about the actor Ewan McGregor.] What did you make of that, and what do you think it means for the “Jeopardy!” viewership to have such intensity of passion that they referee a professionally refereed show?
First, it’s not a controversy. It’s clear to everyone that I said McGregor on stage, including to my co-contestants who have spoken about this. There should not have been and there should not be any controversy.
That said, I don’t personally sort of participate in any kind of fandom, so the way that this sort of took off is a little alien to me. But I know not just in the “Jeopardy!” community people are really, I guess, just very invested. It’s hard for me to explain.
Has the response been hard for you?
I’m sure that everyone who appears on “Jeopardy!” gets some nasty emails because unfortunately fandom can be vicious and I’m very easy to find. But I do know that women who are on “Jeopardy!”, especially women who do well, really can be targeted. And I do think that is part of what happened. Some of the — most of the emails I got from strangers were extremely nice and positive and, you know, full of good wishes. And I appreciated that, but I also got some really misogynistic, nasty gendered messages.
It’s disappointing because in my mind the “Jeopardy!” community is one of the last nice spaces that exists. I’ve talked about that with other contestants over the years, who have said it’s a congenial space. And I’ve asked them — and now I’ll ask you — what do you think the Jewish community can learn from the “Jeopardy!” community?
As a historian, it’s sort of not in my nature to comment on the contemporary Jewish community. I do think there are shared values around knowledge and education.
I do think there’s a nice community of contestants. Even though we were all each other’s competitors, everybody was just really friendly and encouraging. It’d be nice if all communities would just be like that.
You teach women’s and gender studies. You mentioned one big gender dynamic related to being a “Jeopardy!” contestant. Were there others, or other connections to your scholarship, that jumped out during your time as a contestant?
Not so much gender, but my current research project is about American Jewish women who traveled abroad between the Civil War and World War II. It’s a research interest — I noticed as I was working on all my other projects that the Jewish girls and women I was writing about traveled a lot, way more than you would expect for the late 1800s and early 1900s — but it’s also because I love to travel myself. And that’s another way to learn. There were definitely questions on “Jeopardy!” that I knew because I’ve been there — like about the sculpture in the harbor in Copenhagen of the Little Mermaid. I thought: I’ve been there and I’ve seen that.
So you like traveling and you just won a little over $60,000. Do you have any specific plans for the winnings?
Well, first, I’ll have to deal with the IRS. I’m involved with a bunch of different charities and so I will certainly be giving some of this money to them. And my husband and I already have our big trip for the year planned in May — to the north of England, to Newcastle and Hadrian’s Wall — and so we are going to upgrade some parts of that experience a little bit.
And then let’s go back to the student who reached out to you. What do make of that?
Whatever they’re teaching, teachers really matter, for better or for worse, and that’s where my real impact is. I teach a lot of students a lot of different things and I really value my relationship with them. And as it says in Proverbs, right, I have learned a lot from my students, just like I hope they learned from me. Seeing how excited some of my students have been this week, I do think that, in a way, being on “Jeopardy!” was sort of part of my teaching practice and that it just shows, again, this value of education and knowledge. Yes, it’s trivia, but still it just makes you a better-rounded person. And it was nice to be able to demonstrate that.
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The post This Jewish studies professor won $60,000 on “Jeopardy!” — despite missing out on a question about Yom Kippur 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.”