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Why Every Young American Should See Ari’el Stachel’s ‘Other’
Ari’el Stachel in “Other.” Photo: provided.
Theatre has always been one of the most powerful spaces for self-reflection. It is intimate and raw, placing us in the dark together while a performer unfolds a story that demands our attention. Unlike film or television, there is no screen to hide behind, no pause button, no escape. We share the same room, the same air, and we can’t look away.
Ari’el Stachel’s new solo play — originally staged as Out of Character and now retitled Other — leans fully into that vulnerability. Stachel, who grew up with a Yemeni-Jewish father and a European Ashkenazi mother, has lived his life moving between worlds. His Jewish story is the entry point, but the performance quickly expands outward. He is able to pass as Jewish, Arab, Middle Eastern, and even Black, depending on context. At times, this mobility is liberating, opening doors to multiple communities. At others it is alienating, leaving him with the disorienting sense of belonging everywhere and nowhere at once. Other is about carrying multiple voices within a single body and still searching for one authentic voice.
The backdrop of 9/11 looms large in Stachel’s account. As a boy in California, he watched his father — darker-skinned, bearded, recognizably Middle Eastern — suddenly become a figure of suspicion. Overnight, his family’s presence was filtered through the fear and mistrust that saturated America after the attacks. For Stachel, it was a formative trauma. He recounts how he began distancing himself from his father’s appearance and heritage, denying or reshaping parts of his identity in order to escape the judgments of others. What might have been a simple story of a mixed-heritage Jewish boyhood became a painful initiation into the politics of race, religion, and suspicion in post-9/11 America.
The performance is brutally honest. Stachel doesn’t just tell stories; he embodies dozens of characters — parents, teachers, classmates, inner demons — giving voice to the forces that shaped him. Critics who saw the earlier Out of Character noted how he performed more than 40 roles over the course of the evening, slipping between them with humor and intensity. At the center of it all is his anxiety, personified on stage as a relentless voice; a tormentor who exposes his insecurities and self-doubt. Even the physicality of the performance matters: at times, Stachel literally sweats under the strain, his body underscoring the emotional labor of wrestling with self-hood in public.
What makes Other so compelling is how it resists flattening. Stachel could have chosen to present a neat identity that pleased everyone. He could have leaned into his Ashkenazi heritage in Jewish spaces, downplayed his father’s Arab and Yemeni roots in the broader culture, or passed as Black when it fit. Instead, he embraces contradiction. He admits to the pain of passing, to the shame of dissembling, to the exhaustion of being welcomed everywhere but rooted nowhere. His honesty is not tidy, but it is deeply human and it is precisely what gives the play its moral force.
For Jews, Other carries special resonance. Too often, American Jewish life is imagined narrowly, as if it were monochrome and monolithic. In reality, it encompasses Ashkenazi, Sephardi, and Mizrahi heritages, as well as countless blends created by Diaspora and intermarriage. Stachel’s story insists that Jewish identity is wide, textured, and complex. By putting a Yemeni-Ashkenazi household on stage, he gives voice to Jews of color and Jews of mixed heritage who have too often felt peripheral in communal narratives. Other says clearly: you belong.
But Other is not just a Jewish story. It is also an Arab story, a Middle Eastern story, a Black story, and an American story. It is about what it means to be welcomed conditionally, mistrusted reflexively, and asked to define yourself in ways that never quite fit. For Arabs and Middle Eastern Americans, it is rare representation that does not reduce or stereotype. For Black Americans, it echoes the struggle of reconciling self-knowledge with the perceptions imposed by others. And for every young American navigating multiple expectations — between family and school, tradition and modernity, online and offline — it is a reminder that identity is not a slogan but a journey.
The play also speaks to our cultural moment. Cancel culture and digital performance have created an environment where young people feel pressure to present a polished, singular self for approval. Nuance is suspect. Ambiguity is punished. Doubt is treated as weakness. Other resists that world. It demonstrates that wholeness comes not from clarity but from wrestling — not from erasing contradictions, but from inhabiting them.
That is why Other deserves more than applause from Jewish audiences. It deserves to be seen as a work that speaks to all Americans, and especially to the rising generation. It shows that identity is not fixed but fluid, that belonging is never simple, and that authenticity often comes through tension rather than resolution. These are lessons our fractured culture badly needs.
Great theatre does not just entertain; it enlarges our sympathies. It forces us to see ourselves in another’s story and to carry that recognition out of the theatre and back into the world. Stachel’s Other does exactly that. It challenges Jews to expand our sense of who belongs. It challenges Americans to reconsider the categories we use to define one another. And it challenges young people to resist the temptations of performance and to find their authentic voice in the midst of contradiction.
In Jewish tradition, we often return to the story of Jacob wrestling with the angel. It is a story of struggle without resolution, of wounds that endure, but also of blessings that come only through the fight. Stachel’s play is a modern wrestling. It is a man confronting his many “others,” refusing easy answers, and choosing to tell the truth of his fractured self. That is why it is Jewish. That is why it is universal. And that is why every young American should see it.
Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute.
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High-Stakes US Special Forces Mission Rescues Airman From Iran After F-15 Crash
FILE PHOTO: A U.S. Air Force F-15E Strike Eagle aircraft takes off for a mission supporting Operation Epic Fury during the Iran war at an undisclosed location, March 9, 2026. U.S. Air Force/Handout via REUTERS/File Photo
US forces staged the audacious rescue of an airman behind enemy lines after Iran downed his fighter jet, officials said on Sunday, resolving a crisis for President Donald Trump as he weighs escalating the war, now in its sixth week.
The airman rescued by special operations forces, who Trump said was a colonel, was the weapons-systems officer on the downed F-15, a US official told Reuters.
“Over the past several hours, the United States Military pulled off one of the most daring Search and Rescue Operations in US History,” Trump said in a statement, adding that the airman was injured but “he will be just fine.”
The officer was the second of two crew members on the warplane that Iran said on Friday had been brought down by its air defenses. Iran’s Revolutionary Guards said several aircraft were destroyed during the US rescue mission, Tasnim news agency reported.
Reuters reported on Friday that the first crew member had been retrieved, triggering a high-profile search by both Iran and the United States for the remaining airman.
Iranian officials had urged citizens to help find him, hoping to gain leverage against Washington in the war Trump and Israel launched on February 28.
Trump has threatened to escalate the conflict in the coming days with attacks on Iran’s energy infrastructure.
Had Iran captured the airman, the ensuing hostage crisis could have shifted American public perception of a conflict that opinion polls show was already unpopular.
Trump said the airman was rescued “in the treacherous mountains of Iran” in what he said was the first time in military memory that two US pilots had been rescued, separately, deep in enemy territory.
The official told Reuters that as the weapons-systems officer was moved from near a mountain to a transport aircraft parked within Iran, US forces had to destroy at least one of the aircraft because it had malfunctioned.
U.S. AIRCRAFT HIT
The rescue effort, involving dozens of military aircraft, encountered fierce resistance from Iran.
Reuters reported on Friday that two Black Hawk helicopters involved in the search were hit by Iranian fire but escaped from Iranian airspace.
Separately, a pilot ejected from an A-10 Warthog fighter aircraft after it was hit over Kuwait and crashed, the officials said, though the extent of crew injuries was unclear.
Still, Trump was triumphant.
“The fact that we were able to pull off both of these operations, without a SINGLE American killed, or even wounded, just proves once again, that we have achieved overwhelming Air Dominance and Superiority over the Iranian skies,” he said in his statement.
US air crews are trained in what to do if they go down behind enemy lines, measures known as Survival, Evasion, Resistance and Escape, but few are fluent in Persian and face a challenge in staying undetected while seeking rescue.
The conflict has killed 13 US military service members, with more than 300 wounded, US Central Command says. No US troops have been taken prisoner by Iran.
While Trump has repeatedly sought to portray the Iranian military as being in tatters, they have repeatedly been able to hit US aircraft.
Reuters reported on US intelligence showing that Iran retains large amounts of missile and drone capability. Until just over a week ago, the US could only determine with certainty that it had destroyed about one-third of Iran’s missile arsenal.
The status of about another third was less clear, but bombings probably damaged, destroyed or buried those missiles in underground tunnels and bunkers, Reuters sources said.
The US and Israeli war on Iran has spread across the Middle East, killing thousands and hitting the global economy with soaring energy prices that are fueling fears of inflation.
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On Easter, Pope Leo Urges World Leaders to End Wars, Renounce Conquest
Pope Leo XIV waves from the main balcony of St. Peter’s Basilica after delivering his “Urbi et Orbi” (To the city and the world) message, on Easter Sunday at the Vatican, April 5, 2026. Photo: REUTERS/Remo Casilli
Pope Leo urged global leaders in his Easter message on Sunday to end the conflicts raging across the world and abandon any schemes for power, conquest or domination.
The pope, who has emerged as an outspoken critic of the Iran war, lamented in a special message to the thousands gathered in St. Peter’s Square that people “are growing accustomed to violence, resigning ourselves to it, and becoming indifferent.”
“Let those who have weapons lay them down!” the first US pope exhorted. “Let those who have the power to unleash wars choose peace!”
Leo did not mention any specific conflicts in the message, known as the “Urbi et Orbi” (to the city and the world) blessing. It was unusually brief and direct.
The pope said that the story of Easter, when the Bible says Jesus rose from the dead three days after not resisting his execution by crucifixion, shows that Christ was “entirely nonviolent.”
“On this day of celebration, let us abandon every desire for conflict, domination, and power, and implore the Lord to grant his peace to a world ravaged by wars,” Leo urged.
Leo, who is known for choosing his words carefully, has been forcefully decrying the world’s violent conflicts in recent weeks and ramping up his criticism of the Iran war.
In a sermon for the Easter vigil on Saturday night, he urged people not to feel numbed by the scope of the conflicts raging across the world but to work for peace.
The pope made a rare direct appeal to US President Donald Trump on Tuesday, urging him to find an “off-ramp” to end the Iran war.
In his address from the balcony of St. Peter’s Basilica on Sunday to the Square below, decorated with thousands of brightly colored flowers for the holiday, Leo offered brief Easter greetings in ten languages, including Latin, Arabic and Chinese.
The pope also announced he would return to the Basilica on April 11 to host a prayer vigil for peace.
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Temple Mount Set for Limited Reopening to Jews and Muslims
Israeli National Security Minister and head of Jewish Power party Itamar Ben-Gvir gives a statement to members of the press, ahead of a possible ceasefire between Israel and Hamas, in Jerusalem, Jan. 16, 2025. Photo: REUTERS/Oren Ben Hakoon
i24 News – Israeli authorities are preparing to partially reopen the Temple Mount in Jerusalem to both Jewish and Muslim worshipers for the first time since the start of the war with Iran, under a tightly controlled and highly restricted security arrangement, i24NEWS has learned.
According to details obtained by i24NEWS, the Israeli police, backed by National Security Minister Itamar Ben-Gvir, are also expected to permit limited access for Jewish worshipers to the Western Wall as part of the same phased plan.
Under the framework, access to the Temple Mount and surrounding holy sites would be restricted to small groups of up to 150 people at a time. In the event of a missile alert, all visitors would be immediately evacuated in accordance with emergency protocols.
The decision follows a recent Supreme Court ruling allowing demonstrations in a limited format. Police argue that a consistent standard must apply across both civic gatherings and religious sites, with Ben-Gvir insisting that “there cannot be one rule for demonstrations and another for the Temple Mount.”
However, the reopening contradicts recommendations from the Home Front Command, which has advised keeping sensitive sites closed due to the ongoing risk of missile attacks.
Israeli Justice Minister Yariv Levin has proposed transferring authority over such security-related decisions exclusively to defense officials, an initiative that could reshape the balance between the judiciary and security establishment regarding restrictions on public access.