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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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IDF Soldier from Connecticut Killed in Southern Lebanon Combat
Sgt. Moshe Yitzhak Hacohen Katz. Photo: courtesy.
i24 News – The Israel Defense Forces announced on Sunday morning the death of Sgt. Moshe Yitzhak Hacohen Katz, 22, originally from New Haven, Connecticut, who was killed during combat operations in southern Lebanon on Saturday.
According to the military, Katz was killed in a rocket attack targeting Israeli forces operating during efforts to expand a security zone in southern Lebanon. The IDF said the strike occurred overnight between Friday and Saturday, during a large-scale barrage aimed at units deployed in the area.
An initial military investigation found that one rocket directly hit an infantry unit from the 890th Battalion of the Paratroopers Brigade, killing Katz instantly. Three additional soldiers were wounded and are listed in moderate condition.
The IDF said the announcement of Katz’s death was delayed to ensure that all family members, including those in the United States, were properly notified.
The army also said that recent attacks have largely focused on the four IDF divisions operating in Lebanon. In the past 24 hours alone, approximately 250 rockets were launched toward Israeli positions, with 23 crossing into Israeli territory, according to military figures.
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AI-Generated Antisemitic Rabbi Racks Up Millions of Followers with Questionable Financial Advice
i24 News – An AI-generated character known as Rabbi Goldman has attracted millions of followers online by combining old antisemitic tropes with digital-age conspiracy theories. The avatar, presented as a caricature of a New York rabbi, plays off stereotypes of Jewish power and wealth while dispensing unsolicited “financial advice” and conspiracy-laden commentary about global elites.
In his videos, Rabbi Goldman claims that Jews have “known every secret for thousands of years,” weaving age-old prejudice into modern misinformation. Among his assertions: that the moon landing was faked, the US government will soon exert total control over its citizens, and billionaires stage yacht sinkings for insurance fraud—all allegedly foreknown by “the Jews.”
Before being removed on Sunday night, his Instagram account had racked up over 1.5 million followers. Yet the same page remains active on Facebook, which shares an owner with Instagram, with roughly 180,000 followers and thousands of interactions per post. The comments reveal an audience that is genuinely engaged with, and emboldened by, his vitriolic rhetoric.
Rabbi Goldman’s videos follow a simple formula designed to thrive in algorithm-driven ecosystems. They begin with a cryptic slogan implying secret knowledge or hidden wealth — invoking Jews as the keepers of these secrets — to draw viewers in and extend watch time, thus being featured on more people’s feeds. What follows is a cascade of AI-generated, factually dubious monologues, all culminating in a pitch: he can show you how to acquire the same “Jewish wisdom.”
That pitch leads to his website, where a manual titled How to Make and Invest Money sells for $9, and he claims it has been purchased by over 4,000 people. The real product, however, carries a fuller title — How to Make and Invest Money Like the Jews. The 62-page PDF amounts to generic, AI-spun financial advice labeled as “the Jewish method,” occasionally interspersed with random references to the Talmud. Just like the videos, it references how Jews have managed to be successful for thousands of years but offers little backup as to how that can translate to a real-world scenario.
Most of it plays off the stereotype of Jews being financially astute. But some lines, such as “Jews do not day trade… We buy the market — the entire market — and we hold it indefinitely,” remove the mask entirely.
Whether we like it or not, antisemitism thrives online—and platforms’ recent loosening of content restrictions under the banner of “free speech” has only amplified it. Social media has become an ideal environment for grifters to blend prejudice with profit. And that is, to their credit, what the creators of Rabbi Goldman have done.
They have clearly borrowed from the “manosphere” playbook—a cluster of influencers promoting hyper-masculine, materialistic lifestyles infused with misogyny and antisemitism. Like Andrew Tate and similar figures, Rabbi Goldman appeals to disaffected young men who feel alienated by the economy and society in which they live, eager to locate a scapegoat.
In Goldman’s case, the scapegoats are the elites and billionaires. But the framing of the Jews alongside the elites has, by proxy, made them the scapegoat too. By merging coded hatred with generic Instagram-style self-help language, the character transforms antisemitism into a marketable aesthetic.
So essentially, the creator of Rabbi Goldman has found a niche in an emerging market, playing off of antisemitism to sell cheaply produced slop to teenagers. Which is both entrepreneurial and morally awful. But the issue is that social media has bred the ground for this by rewarding shock content and letting antisemitism often go untouched. Even when they deleted his Instagram account, dozens of copycats popped up, including an absurdly ironic German-language version that uses the likeness of British politician Jeremy Corbyn.
And this is what happens when social media companies are reactive rather than proactive. They were chasing shadows after the account became so big. Instead, they need to cut it out at its source, be tougher on antisemitism, and be more vigilant with AI content.
And for social media users, it is hard to tell what’s real and what isn’t anymore. Just try not to get financial advice from an AI rabbi who thinks the moon landing was fake.
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Pezeshkian Clashes with IRGC Over Iran’s War Strategy and Economy
Iranian President Masoud Pezeshkian attends the Shanghai Cooperation Organisation (SCO) Summit 2025, in Tianjin, China, September 1, 2025. Iran’s Presidential website/WANA (West Asia News Agency)/Handout via REUTERS
i24 News – Deep divisions have reportedly emerged within Iran’s leadership as the war enters its fifth week, with tensions growing between President Masoud Pezeshkian and senior figures in the Islamic Revolutionary Guard Corps, according to a report by Iran International.
The report by Iran International claims Pezeshkian has sharply criticized the military escalation strategy led by IRGC commanders, warning of severe economic consequences if the conflict continues.
He is said to have cautioned that without a ceasefire, Iran’s economy could “completely collapse within three weeks to a month.”
According to the same report, Pezeshkian has called for the restoration of executive and administrative authority to the civilian government, a demand reportedly rejected by IRGC leadership, including Ahmad Vahidi.
Vahidi is said to have pushed back, blaming the current crisis on the government’s failure to implement structural reforms prior to the war and recent protest movements.
Meanwhile, signs of economic strain are becoming increasingly visible across Iran. Reports from several major cities describe ATMs that are empty, out of service, or inaccessible, alongside repeated disruptions to online banking systems.
Public sector employees have also reported delays in salaries and benefits over the past three months.