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Tradition! Young adults on the Upper West Side flock to a new, independent Shabbat service
(New York Jewish Week) — It was a mild Friday afternoon in mid-December and Avital Katz and Ilana Sandberg didn’t know what to expect once Shabbat began.
The pair had texted, emailed and posted on Instagram to invite as many people as possible to an egalitarian Shabbat service that they were hosting in the living room of a friend’s townhouse apartment on West 75th Street. Katz and Sandberg were craving a younger, fresher Friday night experience on the Upper West Side, but while they knew others felt the same, they weren’t sure how many people would show up.
In the end, Katz said, the final tally was “shocking”: 55 people crowded into the room for that first service, bringing their own prayer books and traveling significant distances to join a Shabbat community they’d only just heard about.
“We knew people wanted it,” said Katz, 29, who teaches at a Jewish day school in the neighborhood. “But we were just so excited and so grateful that this was something that actually excited people and we weren’t just making it up in our heads.”
Over the next four months, Katz and Sandberg, a rabbinical student at the Jewish Theological Seminary, held four additional Kabbalat Shabbat services, with a tentative schedule stretching out into the summer. Their informal prayer community, known as a minyan, has no name — yet — but it does have a third organizer, growing buzz among young adults on the Upper West Side and the support of a slew of synagogues in the neighborhood and beyond.
This Kabbalat Shabbat minyan’s arrival marks something of a return-to-nature on the Upper West Side, a pulsing heart of Jewish life in New York City. Over the years, other minyans had sprouted up in the neighborhood, which is popular among young Jewish professionals because of its density of synagogues and kosher restaurants, the vibrancy of its dating scene and the networks of camp and college friends who are committed to maintaining Jewish community in their lives.
Some of these minyans faded away as members moved away, while others evolved into more established communities with dues, leases and programs for families. But the informal, lay-led minyans that were drawing young adults just before the pandemic — such as the Wandering Minyan, Shira B’Dira (Hebrew for “Songs in an Apartment”) and one sponsored by Camp Ramah, the Conservative movement’s summer camp network — have been slow to reemerge.
Katz and Sandberg are members of a congregation, Kehilat Hadar, that itself grew out of an informal minyan launched back in 2001. But Kehilat Hadar doesn’t regularly hold Friday-night services, which tend to be challenging for people with young children to attend. Plus, Katz and Sandberg thought that an independent minyan with less established roots might be more appealing for many people who hadn’t yet found a Jewish community of their own.
Of course, there are numerous synagogues in the neighborhood, but none seemed quite right: Congregations such as B’nai Jeshurun and Romemu use musical instruments — something considered taboo on Shabbat by many observant Jews — and Orthodox congregations tend not to appeal to people who are committed to egalitarianism. Plus, Katz, Sandberg and the third organizer, Bradley Goldman, were looking for a service led by people who aren’t rabbis, so the participants could feel more ownership over the experience.
“Obviously, there are some choices,” Katz said. “But there wasn’t anything that kind of fit with a more traditional Friday night davening [praying] that really focuses on young people who might end up moving away from the Upper West Side after a few years.”
She had heard others expressing the same longing as the world reemerged from Covid limitations. “All of these Shabbat meals that we were going to, everyone — whether or not they go to shul constantly or have rarely gone when they’ve moved to the Upper West Side — was talking about how there’s really not a lot of options for Friday night davening that are appealing to the 20s and 30s crowd, either religiously or age-wise,” she said.
The crowd at their services are all young people, many of whom know each other already, most who live on the Upper West Side — but anyone is welcome. In fact, Katz stays at the door to welcome anyone and everyone who walks by, which she said has been her favorite part of the experience.
A large contingent of attendees also have a background either attending or working for one of the camps in the Ramah network, and many prayers use Ramah tunes, creating a sense of nostalgia for those who attended the camps.
“We create such a powerful Shabbat experience at camp and I wanted to be able to capture that here with the same people,” said Adina Scheinberg, a Ramah alum who led a recent service that took place at Schechter Manhattan, the Conservative day school located on West 100th Street, that drew around 60 people.
After the service, which includes traditional Kabbalat Shabbat liturgy and maariv, or the evening service, attendees have the opportunity to schmooze with each other, snack and have a drink. “We want to be as inclusive as possible,” Katz said. “If you just want to come for the snacks, we love that too.”
The setting at Schechter was familiar to anyone who has attended Kehilat Hadar services in recent years: Kehilat Hadar has partnered with Congregation Shaare Zedek since 2019 and they meet together every Saturday morning at Schechter while Shaare Zedek’s permanent space is undergoing a major redevelopment. For Kehilat Hadar, the new minyan is not competition but an exciting addition to the fabric of Jewish life in the neighborhood.
“Friday night davening has always gotten a different crowd from Shabbat morning davening,” said Emily Scharfman, president of Kehilat Hadar’s board. She said Kehilat Hadar has held monthly Friday night services but lacked the volunteer capacity to hold weekly ones, particularly as community members have grown their families over the past 20 years.
“We are happy to be supportive of something that was mission-aligned, from a traditional, egalitarian perspective, especially coming from two people within our community,” Scharfman said, adding that Kehilat Hadar and Shaare Zedek would likely not have sponsored a minyan with a mechitzah separating men and women, or one that brought in music.
Kehilat Hadar has sponsored at least one of the Shabbat services, paying to rent the space at Schechter Manhattan for the evening and providing the snacks. And they’re not the only ones: The Conservative Synagogue Adath Israel of Riverdale helped rent space at SAJ, a Reconstructionist synagogue, for a future Shabbat, while Ramah plans to sponsor a service on May 5.
Though the presence of JTS, the flagship Conservative seminary, has always meant that there are ample young adults on the Upper West Side committed to innovative prayer experiences, Sandberg said she’s especially pleased that her growing new minyan draws from beyond that community.
“It’s logical that I as a rabbinical student was looking for something like this and that I felt like there was a gap in the community that I was hoping to find on the Upper West Side,” Sandberg said. “But it is really gratifying that this sentiment is shared by so many people and that this minyan can be something that young Jews on varying levels of being involved and engaged and observant are looking for.”
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The post Tradition! Young adults on the Upper West Side flock to a new, independent Shabbat service 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.”