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For theatergoers at Broadway’s recent spate of Jewish shows, attendance is a form of witness
(JTA) — Jewish stories have had top billing on Broadway this season — and Jewish audiences have been flocking to the theater.
Audiences have lined up to see Tom Stoppard’s “Leopoldstadt,” the multigenerational saga of a Jewish family in Vienna, and the devastating consequences of the Holocaust upon its ranks. They have packed the house for “Parade,” a musical retelling of the infamous antisemitic show trial and subsequent lynching of Leo Frank in Marietta, Georgia, in 1915. And just off Broadway, “The Wanderers” (which closed April 2) invited us into the slowly disintegrating marriage of two secular Jews born to mothers who dramatically left the Satmar sect of ultra-Orthodox Judaism, a show replete with intergenerational trauma and a pervasive sense of ennui.
None of these shows offers a particularly lighthearted evening at the theater. So why have they proven so popular? Critics have penned countless reviews of the three plays, analyzing the quality of the productions, the scripts, scores, performances of principal actors, set and design. But for our new book exploring what audiences learn about Judaism from Jewish cultural arts, my colleague Sharon Avni and I have been interviewing audience members after seeing “Leopoldstadt,” “Parade” and “The Wanderers.” We are interested in turning the spotlight away from the stage and onto the seats: What do audiences make of all this? What do they learn?
Take “Leopoldstadt,” for example, a drama so full of characters that when it left London for its Broadway run the production team added a family tree to the Playbill so that theatergoers could follow along. “Leopoldstadt” offers its audience a whistle-stop introduction to modern European Jewish history. In somewhat pedantic fashion, the family debates issues of the day that include Zionism, art, philosophy, intermarriage and, in a searing final scene, the memory of the Holocaust.
For some of the theatergoers that we interviewed, “Leopoldstadt” was powerful precisely because it packed so much Jewish history into its two-hour run time. It offered a basic literacy course in European Judaism, one they thought everyone needed to learn. Others, however, thought that this primer of Jewish history was really written for novice audiences — perhaps non-Jews, or assimilated Jews with half-remembered Jewish heritage, like Stoppard himself. “I don’t know who this play is for,” one interviewee told us. “But it’s not me. I know all this already.”
Brandon Uranowitz, left, who plays a Holocaust survivor, confronts Arty Froushan as a young writer discovering his Jewish roots, in the Broadway production of Tom Stoppard’s “Leopoldstadt.” (Joan Marcus)
Other interviewees thought the power of “Leopoldstadt” lay not in its history lessons, but in its ability to use the past to illuminate contemporary realities. I spoke at length with a woman who had been struggling with antisemitism at work. Some of her colleagues had been sharing social media posts filled with lazy caricatures of Jews as avaricious capitalists. Upon seeing “Leopoldstadt,” she realized that these vile messages mirrored Nazi rhetoric in the 1930s, convincing her that antisemitism in contemporary America had reached just as dangerous a threshold as beheld European Jews on the eve of the Shoah.
We heard similar sentiments about the prescience of history to alert us to the specter of antisemitism today from audiences who saw “Parade.” Recalling a scene where the cast members wave Confederate flags during the titular parade celebrating Confederate Memorial Day, Jewish audiences recalled feeling especially attuned to Jewish precarity when the theater burst into applause at the end of the musical number. “Why were we clapping Confederate flags?” one of our interviewees said. “I’ve lived in the South, and as a Jew I know that when you see Confederate flags it is not a safe space for us.”
“Parade” dramatizes the popular frenzy that surrounded the trial of Leo Frank, a Yankee as well as a Jew, who was scapegoated for the murder of a young Southern girl. Jewish audience members that we interviewed told us that the play powerfully illustrated how crowds could be manipulated into demonizing minorities, comparing the situation in early 20th century Marietta to the alt-right of today, and the rise of antisemitism in contemporary America.
What we ultimately discovered, however, was that audience perceptions of the Jewish themes and characters in these productions were as varied as audiences themselves. Inevitably, they tell us more about the individual than the performance. Yet the fact that American Jews have flocked to these three shows — a secular pilgrimage of sorts — also illustrates the power and the peril of public Jewish storytelling. For audience members at “Leopoldstadt” and “Parade,” especially, attending these performances was not merely an entertaining evening at the theater. It was a form of witnessing. There was very little to be surprised by in these plays, after all. The inevitable happens: The Holocaust destroys Jewish life in Europe, Leo Frank is convicted and lynched. Jewish audiences know to expect this. They know there will be no happy ending. In the secular cultural equivalent to saying Kaddish for the dead, Jewish audiences perform their respect to Jewish memory by showing up, and by paying hundreds of dollars for the good seats.
The peril of these performances, however, is that audiences learn little about antisemitism in reality. The victims of the Nazis and the Southern Jews of Marietta would tell us that they could never have predicted what was to happen. Yet in “Parade” and “Leopoldstadt” audiences are asked to grapple with the naivete of characters who believe that everything will be all right, even as audiences themselves know that it will not. By learning Jewish history on Broadway, audiences are paradoxically able to distance themselves from it, simply by knowing too much.
In the final scene of “Leopoldstadt,” Leo, the character loosely based on Stoppard himself, is berated by a long-lost relative for his ignorance of his family’s story. “You live as if without history,” the relative tells Leo. “As if you throw no shadow behind you.” Audiences, at that moment, are invited to pat themselves on the back for coming to see the show, and for choosing to acknowledge the shadows of their own Jewish histories. The cold hard reality, however, is that a shadow can only ever be a fuzzy outline of the truth.
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Trump endorsement of Netanyahu blasted by liberal policy advocates, Democrats
(JTA) — A day after President Donald Trump endorsed Prime Minister Benjamin Netanyahu in the Israeli election eight days from now, U.S. policy analysts, Democratic lawmakers and liberal advocacy groups slammed the decision.
Trump announced his support for Netanyahu, who is running for reelection, in a Sunday Truth Social post that described the Israeli leader as “a Great Warrior Prime Minister” and a critical partner in eliminating the Iranian threat. Netanyahu has been trailing former IDF chief-of-staff Gadi Eisenkot in recent surveys.
Tali deGroot, vice president of political and digital strategy for the liberal Zionist group J Street, described Trump’s declaration as “an endorsement of endless war for Israelis,” in a statement sent to the Jewish Telegraphic Agency. She warned of “endless occupation and control of Palestinian life and land, and Israel’s growing isolation on the world stage.”
“The president is once again acting against the wishes of American taxpayers and choosing to uphold a failed, unpopular foreign policy that has brought devastation to Israelis, Palestinians and countless civilians,” deGroot added.
A spokesperson for the American Israel Public Affairs Committee, meanwhile, said that the lobby had no comment about the endorsement.
David Makovsky, director of the Program on Arab-Israel Relations at the Washington Institute for Near East Policy, criticized Trump’s decision, writing on X that “in one fell swoop, Trump has broken with the longstanding U.S. practice of avoiding explicit endorsements in Israeli elections.” The president, Makovsky added, went a step further by threatening to sever a partnership against Iran if Israelis choose a different leader.
“It is up to the Israeli people to choose their own leader and threatening that the U.S. will walk away from the conflict with Iran is beyond stunning,” Makovksy said.
Makovsky also pointed out that “a Trump endorsement is no electoral guarantee,” noting that Trump and Vice President JD Vance’s support for Viktor Orbán in Hungary did not end in a victory.
“The ultimate test is assembling a 61-seat Knesset majority,” Makovsky added. “Yet Netanyahu appears more focused on preventing an Eisenkot-led coalition from reaching that threshold than on demonstrating a viable path to 61 seats himself.”
Sen. Chris Van Hollen, a Democrat from Maryland, offered another scathing perspective, observing that “authoritarians of a feather flock together.”
“They started a war together,” Van Hollen stated. “They crack down on press freedom together. They lie about everything together.”
Rep. Analilia Mejia, a New Jersey Democrat running for reelection, said that the endorsement “tells us everything we need to know about both of these men.” She then went on to list Netanyahu, North Korea leader Kim Jong Un, Orbán and Russian President Vladimir Putin, adding that “this guy has a ‘type.’”
On the other side of the aisle, Rep. Carlos Gimenez, a Republican from Florida, reposted a video in which Netanyahu thanked Trump for his support. The congressman then added that “America will always stand with the Jewish State of Israel and our dear friend Prime Minister Netanyahu, who has championed our alliance for decades.”
Matt Brooks, CEO of the Republican Jewish Coalition, said he believes that “President Trump is incredibly popular with the people of Israel,” in a written statement to JTA.
“His support will carry considerable weight as Israelis make their choice for Prime Minister in a pivotal election this month,” Brooks added.
American Orthodox Rabbi Shmuley Boteach likewise celebrated the endorsement “by our great President Trump,” writing on X that he has “known and loved BIBI Netanyahu for some 35 years.”
Conservative radio personality Mark Levin described Trump’s Truth Social post as “an extraordinarily strong statement,” while accusing the opposition of “barking about election interference.”
“Trump makes clear it’s also in our national security interest for Netanyahu to remain PM,” Levin stated, calling complaints “unserious and a partisan political whine.”
Conservative influencer Evan Kilgore, on the other hand, fumed at Trump’s decision. Kilgore, whose X profile says “Christ is King,” announced that he is “so done with the GOP,” following Trump’s endorsement of Netanyahu. Kilgore described Trump as “TOTALLY fu*king subverted by Jewish and Zionist interests.”
Political analysts are divided as to whether Trump’s official support would have any sway on the results of an election 6,000 miles away.
Joyce Karam, editor-in-chief of the Washington-based site Al-Monitor, described the endorsement as a signal to both Israel and Iran that renewed escalation and a push for regime collapse could occur after the U.S. midterm elections. She also predicted that Trump’s backing could tip the balance in a tight race where neither side holds a majority.
However, Dov Waxman, director of the Israel Studies program at the University of California, Los Angeles, expressed doubt that support from Trump, who has become less popular in Israel, could significantly influence Netanyahu’s election chances.
“For a long time, most polls have shown his bloc falling well short of a parliamentary majority,” Waxman added.
This article originally appeared on JTA.org.
The post Trump endorsement of Netanyahu blasted by liberal policy advocates, Democrats appeared first on The Forward.
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Macklemore’s ‘Free Palestine’ tour will benefit group that called Oct. 7 a ‘prison break’
(JTA) — Macklemore, the rapper of hits such as “Thrift Shop” and “Can’t Hold Us,” is facing backlash from Jewish organizations over plans to donate proceeds from his forthcoming concert tour to the Palestinian Youth Movement, which described the Hamas-led Oct. 7 attacks on Israel as a “prison break.”
The rapper was dropped on Sept. 14 from an opening slot on Ed Sheeran’s U.S. stadium tour after making pro-Palestinian remarks onstage. He announced his “Free Palestine” tour on Sept. 24, pledging that all proceeds would benefit organizations supporting Palestinians. PYM is among 12 organizations named as beneficiaries.
The tour includes concerts in Dublin on Oct. 26, Paris on Oct. 29 and London on Oct. 30.
Macklemore received a surge of support after being dropped from Sheeran’s tour, with all of Sheeran’s remaining opening acts quitting in solidarity. He said on Instagram that the “Free Palestine” tour “sold out immediately.”
PYM is a grassroots movement of Palestinian and Arab youth in the United States, Canada and Britain. On Oct. 7, 2024, the first anniversary of the Hamas attacks, the group described the assault as a “prison break” and called the fighters “the men who broke through” in an essay published in The New Inquiry.
“Those fighters had trained for months, and now found themselves stepping foot onto the same hills and plains that their grandfathers and grandmothers had lived upon,” said PYM, without mentioning the killing and abduction of Israeli civilians.
PYM also said a week after the attacks, “Understand Palestinian resistance as fundamentally just and as a means of survival for our people; it will not stop in the weeks and months to come, and you must be prepared not to waver again.”
Jewish and pro-Israel groups have slammed Macklemore for supporting PYM. The Jewish Leadership Council, which represents British Jewish and pro-Israel groups, told The Jewish Chronicle, “When the PYM describes the 7 October massacre as a ‘prison break’, it risks legitimizing violence against Jews.”
The Israeli-American Council, which petitioned Sheeran to drop Macklemore, told Fox News Digital that “Live Nation and the concert organizers must now publicly explain their vetting process and ensure that concert proceeds do not benefit organizations that justify violence against innocent civilians.”
Macklemore, Live Nation and the Palestinian Youth Movement did not immediately respond to requests for comment.
This article originally appeared on JTA.org.
The post Macklemore’s ‘Free Palestine’ tour will benefit group that called Oct. 7 a ‘prison break’ appeared first on The Forward.
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Why is the biggest soccer team in the world talking about Joseph Goebbels?
The biggest rivalry in international soccer — between Real Madrid and FC Barcelona — has erupted in recent months, as Madrid pushes the Spanish soccer federation to punish Barca for alleged referee bribery.
But the ugly sparring between the clubs took an unexpected turn last week when Spanish league president Javier Tebas entered the fray with a shocking comparison.
“Real Madrid’s management directs an orchestra of mouthpieces and Real Madrid TV leads the singing,” Tebas wrote Oct. 15 on X. “Their score is always the same: select the plays that suit them, repeat the grievance, feed the suspicion, and point fingers at the enemies.
“That method recalls propaganda mechanisms exploited by Goebbels, Nazi Germany’s minister of propaganda: systematic repetition, construction of an enemy, and subordination of facts to the narrative.”
Real Madrid, which has employed such stars as Cristiano Ronaldo and David Beckham, condemned the remark with a statement calling for Tebas’ resignation both from the Spanish league, La Liga, and the Royal Spanish Football Federation, where Tebas serves as vice president.
“Real Madrid C. F. considers it absolutely intolerable and extraordinarily serious that someone holding two positions of utmost responsibility in Spanish football resorts to a comparison with the propaganda methods of the Nazi regime to discredit our club, its management, and its television,” the club wrote Oct. 16.Tebas has thus far refused to resign or even take down the post, and has defended his critique by pointing to other Spanish leaders who have made similar comparisons in the past.
The Goebbels controversy comes amid growing concerns about antisemitism in Spain, including in sports, where thousands of protesters blocked an Israeli-branded cycling team from competing in the Vuelta race last year.
The bribery accusations against Barcelona first surfaced in 2023, when it was revealed the club had paid millions of dollars to companies linked to the former vice president of the Spanish refereeing body, José María Enríquez Negreira. A Spanish court dismissed the bribery charges in 2024, but the investigation continued, and earlier this month Madrid submitted a tranche of documents it said proved the bribery claims.
The conflict between the club and Tebas dates back at least to 2021, when Madrid club president Florentino Perez spearheaded a breakaway international league that would have threatened Spanish competition. Barcelona had also agreed to join the so-called Super League, but the plan was scuttled after enormous backlash from fans across the continent.
Joseph Goebbels, one of Hitler’s most devoted followers, led the German Propaganda Ministry after the Nazi party came to power in 1933. He and his wife died by suicide in 1945 after killing their six children with cyanide.
The post Why is the biggest soccer team in the world talking about Joseph Goebbels? appeared first on The Forward.
