Uncategorized
Celebrities Help ‘Spotlight’ Holocaust Survivors, Their Testimonies in New NYC Portrait Exhibit
A new portrait series and exhibition that opened in New York City on Tuesday showcases Holocaust survivors paired up with some of the most notable figures in media, fashion, and entertainment, in an effort to preserve survivor testimonies and amplify their stories, as well as to help combat antisemitism.
The portraits in “Borrowed Spotlight,” which is on display at the Detour Gallery, were captured by South African-born, renowned fashion photographer Bryce Thompson. They debuted ahead of Israel’s Holocaust Remembrance Day (Yom HaShoah), which begins on Wednesday night and marks 80 years since the end of World War II. The photographs feature portraits of survivors alongside prominent Jewish and non-Jewish figures such as Cindy Crawford, Jennifer Garner, Billy Porter, Wolf Blitzer, Chelsea Handler, Jenna Dewan, Barbara Corcoran, Nicola Peltz Beckham, Scooter Braun, David Schwimmer, Martha Grant, Ashley Benson, Josh Peck, George Stephanopoulos, Sheryl Sandberg, and Julius Erving.
The recognizable names heard testimonies from the Holocaust survivor they were paired with and then posed for photographs together with the survivor. A total of 18 celebrity and Holocaust survivor-paired portraits are in the series, and they were all taken by Thompson in 2023 and 2024. The exhibit features these large-scale portraits but also additional behind-the-scenes photos and other elements that aim to educate and inspire the public.
One section showcases notes written by some of the Holocaust survivors about life, hope, and reflection. In one such note that was on display, Holocaust survivor Risa Igelfeld, who is 107 years old, wrote: “I am writing this to urge the world to bring only positive thoughts to one another and let love flow.”
“Holocaust survivors are few and far between. Special people with special stories, and I really felt like they need to be told. [And] firsthand was really important to me,” Thompson, who is not Jewish, told the large crowd that attended the exhibit’s opening on Tuesday night. “Hearing a story from someone who has told a story is not the same as sitting in a room with someone who lived through something.”
Thompson told The Algemeiner he was originally hoping to only include non-Jewish celebrities in the portraits because “I wanted non-Jewish people standing up for Jewish people.” But once the project started, Jewish celebrities reached out to him and said they wanted to participate in the portrait series. He also admitted that he had a hard time getting some celebrities on board for the project.
“It wasn’t as easy as I had hoped, but the ones who did say ‘yes’ said [it] willingly and happily, and we were lucky to have them,” he said.
The Holocaust survivors in the series include natives of Poland, Czechoslovakia, Hungary, Belgium, Romania, and one man who was born in a Budapest ghetto basement during a bombing raid in 1944. The photographs feature survivors of the Warsaw Ghetto, Auschwitz and Bergen-Belsen concentration camps, and one person who survived 12 concentration camps. After surviving the genocide of World War II, some of these Holocaust survivors went on to have large families, become graduates of MIT, rocket designers, entertainment lawyers, writers, acclaimed sculptors, tailors, members of the Israeli Air Force, doctors of clinical psychology, and Holocaust educators. The photo series also highlights a survivor of the Farhud pogrom that targeted Jews in Baghdad, Iraq.
The goal of the portrait series and exhibit is to take the spotlight off the featured celebrities and instead use it shed some light on the Holocaust survivors, to help magnify their testimonies and help them reach a larger audience, especially the next generation. “In these pairings, recognition is redirected, and the attention so often given to fame is instead used to illuminate history,” read a description of the exhibit that was on display at its entrance. “The result is a series of intimate portraits and conversations where past and present collide, where silence is broken, and where remembrance becomes an act of defiance against forgetting.”
Brazilian model Daniela Braga is featured in the portrait series alongside Czech Holocaust survivor Gabriella Karin, who survived the war as a teenager by hiding in the one-bedroom apartment of a non-Jewish young lawyer who was located directly across the street from the Nazi-Slovak Gestapo. Born and raised Catholic, Braga converted to Judaism and her husband is Jewish. She told The Algemeiner that hearing about Karin’s experience during the Holocaust made her “very emotional because growing up in Brazil, we learned just a little bit about the Holocaust and World War II. But to have the experience to actually talk to someone who lived through it, it’s something so mind-blowing to me.”
“I could hear the pain in her voice,” Braga added. “It made me happy in the end that she’s alive and is able to tell her story to all of us, to share with other people. When we say, ‘Never Again,’ it really has to be never again.”
Braga also told The Algemeiner she met a Jewish people for the first time ever when she moved to New York 15 years ago.
“I’ve been immersed in this [Jewish] culture for 15 years. The Jewish culture is something very close to my heart. Anything that I can do to help the Jewish community, I will do it,” she said while explaining why she wanted to participate in Thompson’s portrait series.
Jewish actress Kat Graham is photographed in the portrait series with Holocaust survivor Yetta Kana. Graham spoke at the exhibit opening and said Thompson’s portraits capture “truth, resilience, and humanity.” The “Vampire Diaries” actress – whose maternal grandmother fled Europe during the Holocaust – additionally said the photographs “build a bridge between generations; a conversation between memory and legacy.”
“This project is about remembrance but it’s also about responsibility,” she told the crowd. “We are the torchbearers now. It is up to us to keep these stories alive and to ensure that history is never forgotten. That the voices of survivors, like Yetta, are not only heard, but felt. I invite you to see, to feel, and to carry these faces with you, long after you leave … Let’s never forget.”
The opening of “Borrowed Spotlight” on Tuesday night was attended by other well-known figures including Gregg Sulkin, Remi Bader, Moti Ankari, and “Real Housewives of New Jersey” stars Margaret Josephs, Melissa Gorga, and Lexi Barbuto. Sulkin, who is Jewish, told The Algemeiner he wanted to be in the portrait series but ultimately was unable to participate in Thompson’s project because of scheduling conflicts.
The photographs in the exhibit, as well as additional ones not on display, were compiled into a coffee table book available for purchase that features a foreword by Crawford. Proceeds from the book sales will support efforts to educate younger generations about the Holocaust. Proceeds from a private auction on Monday night of select prints in the series will benefit Selfhelp, which provides services and assistance to living Holocaust survivors in New York, and the United States Holocaust Memorial Museum.
There are more than 200,000 Holocaust survivors worldwide. Nearly 50 percent of all Holocaust survivors will die within the next six years, while 70 percent will no longer be alive within 10 years, according to a new report released this week by the Conference on Jewish Material Claims Against Germany (Claims Conference). There are estimated to be more than 1,400 alive today around the world who are over 100 years old.
“Borrowed Spotlight” will be open at the Detour Gallery through Sunday.
The post Celebrities Help ‘Spotlight’ Holocaust Survivors, Their Testimonies in New NYC Portrait Exhibit first appeared on Algemeiner.com.
Uncategorized
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.
Uncategorized
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.”
Uncategorized
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.”