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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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At Jewish Republican summit, GOP casts midterms as a battle against DSA
(JTA) — LAS VEGAS – Speakers at the Republican Jewish Coalition’s annual convention at the Venetian Resort cast the upcoming midterm elections as a battle against not just the Democratic Party, but specifically its left-wing Democratic Socialists of America faction.
“A Democrat majority in November is not just a political setback for our party and our movement, it is a direct threat to the Jewish community,” said Joe Gruters, chairman of the Republican National Committee. “The people in charge would not be moderate Democrats who have occasionally pushed back on antisemitism. It would be the Squad. It would be the DSA.”
Ed Gallrein, the farmer and former Navy SEAL who defeated Kentucky Rep. Thomas Massie in a Republican primary back in May, said that “radical socialism sentiment is gaining ground across our nation,” calling November’s elections a battle between “the Constitution versus the Communist Manifesto.”
Georgia Rep. Mike Collins, who is challenging Democratic Sen. Jon Ossoff, accused the Jewish senator of using November’s election as a springboard to run for president in 2028 as “the DSA candidate.” (Ossoff has repeatedly denied having interest in running for president. He is also neither a DSA member, nor has he been endorsed by the group.)
Even the WiFi password for the Vegas confab — “DSA=AntiUSA” — offered a rejection of the group.
The RJC’s summit comes after a string of victories by DSA members and DSA-backed candidates in Democratic primaries across the country, sparking criticism from Republicans and moderate Democrats who oppose tenets of the group’s left-wing ideology, including its anti-Zionist stance.
The total number of House members endorsed by a DSA chapter could rise from two to seven, depending on how November shakes out, in addition to candidates in downballot races. Though there are 212 Democrats in the House, Republican officials on Sunday and Monday painted the Democratic party as one that is ceding control to the DSA.
China, Russia and Iran, Gallrein said, are hoping that “Democrats controlled by the DSA take the House and the Senate, and that they can exploit and divide America.”
Speakers panned other DSA-backed politicians such as New York City Mayor Zohran Mamdani and Michigan Rep. Rashida Tlaib, as well as the streamer Hasan Piker, who has fundraised for numerous DSA-endorsed candidates.
Florida Rep. Randy Fine specifically attacked Muslim politicians in the Democratic party, saying he was addressing “the elephant in the room.” He was among the speakers to say that there are anti-Israel and antisemitic voices on both ends of the political spectrum. The difference, he said, is that Republicans “repudiate this evil” with actions like voting out Kentucky’s anti-Israel congressman Massie, while Democrats elect anti-Israel candidates.
Tucker Carlson, the former Fox News personality who has spread antisemitic conspiracy theories in recent years, was repudiated by the RJC and also cast aside by the party’s leader, President Donald Trump. Trump’s second-in-command JD Vance, however, has made no such condemnation, to the chagrin of many Jewish Republicans.
With Vance set to speak at the RJC’s summit on Monday night, multiple Jewish Democratic groups blasted the RJC for hosting him, particularly in a session that is closed to the press.
“JD Vance may be speaking behind closed doors, but he should not be able to avoid questions about his attacks on Israel, his failure to confront antisemitism within the MAGA movement, and his continued alliance with Tucker Carlson,” said Brian Romick, president and CEO of Democratic Majority for Israel, in a statement.
“What’s next, a live taping with Tucker Carlson on the main stage?” the Jewish Democratic Council of America wrote.
In a statement to the Jewish Telegraphic Agency, the JDCA’s CEO Halie Soifer said, “The RJC may choose to highlight the less than ten DSA candidates on the ballot in November for their own cynical political purposes, but Jewish voters see past their deflection and lies, just as they see the Republican Party for what it is — the party of Donald Trump.”
This article originally appeared on JTA.org.
The post At Jewish Republican summit, GOP casts midterms as a battle against DSA appeared first on The Forward.
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Israel and Greece ink defense deal to protect against regional threats
(JTA) — Israel and Greece finalized on Monday a $3.5 billion deal providing the Hellenic Republic with a multilayered antimissile system designed to protect the European Union country against aerial attacks from nations such as Iran and Turkey. It is one of the largest defense export deals in the history of the Jewish state.
The two countries “share common strategic interests and face shared regional challenges,” Israeli Defense Minister Israel Katz said in a press statement sent out after the deal was signed at Tel Aviv’s Ministry of Defense.
Called the “Achilles Shield,” the agreement was inked by the General Director of the General Directorate for Defense Investments and Armaments of Greece, Maj. Gen. Ioannis Bouras, and Israel’s Ministry of Defense Director-General reserve Maj. Gen. Amir Baram.
“At a time when actors with hegemonic ambitions are seeking to expand their influence and undermine stability in the region, Israel and Greece will continue to deepen their defense and strategic cooperation, and will act with determination to preserve stability and safeguard their security and shared interests.” Katz said.
Katz didn’t name Iran or Turkey in his remarks, but it was widely understood that the two countries pose regional concerns for both countries. Turkey and Greece are not just neighbors but historic enemies with several current disputes. As Israel’s relationship with President Recep Tayyip Erdogan has deteriorated, Jerusalem and Greece have drawn closer in an effort to counterbalance Turkey’s growing power.
At the same time, Iran launched ballistic missiles at Israel multiple times since 2024. Greece has not been under Iranian fire, but Tehran has threatened to attack European countries. Greece hosts a U.S. naval base and is among those European countries that are closer to Iran.
The agreement isthe “largest defense export deal in the history of Israel-Greece relations, and one of the largest in the history” of the country, Israel’s Defense Ministry noted.
The multilayered system Israel will build for Greece will mark the first time that it provides a country with a system that can combat a wide array of threats from ballistic missiles to drones, the ministry explained.
Among the systems included in the “Achilles Shield” architecture are David’s Sling, SPYDER, BARAK MX and MMR multi-mission radars for air surveillance.
The two countries on Monday also signed a supplementary deal valued at $30.2 million for the sale of the Israeli company Rafael’s Drone Dome systems.
Chairman of Israel Aerospace Industries Boaz Levy said during the recent fighting with Iran that Israel’s aerial defense systems had shown they could intercept “a range of threats, chief among them exoatmospheric ballistic missiles.” The same systems that defended Israel could also be used to help allies in Europe, Levy explained.
“We are proud to take part in the important ‘Achilles Shield’ project, and will continue to be key partners in additional projects in Greece and around the world, as we develop and build the next generation of defense technologies,” he added.
This article originally appeared on JTA.org.
The post Israel and Greece ink defense deal to protect against regional threats appeared first on The Forward.
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He was a privileged Jewish kid from NYC’s Upper East Side. Donald Trump was his greatest invention.
American Scoundrel: Roy Cohn’s Dark Journey from Joe McCarthy to Donald Trump
By Kai Bird with Susan Goldmark
Scribner, $32, 528 pages
By the beginning of the new millennium, Roy Cohn, the red-baiting scourge of the McCarthy hearings, lived largely in the pages of U.S. history books, trotted out on occasion to illustrate how America always manages to overcome its worst nativist impulses. But just in case someone never knew or had forgotten about Cohn’s malign influence on U.S. politics, Tony Kushner brought him back as a villain in his brilliant drama of the early 1990s, Angels in America.
Then, in 2016, Donald Trump was elected president and suddenly, Cohn was breaking news again. The very next year, when Trump was furious at then-Attorney General Jeff Sessions for recusing himself from an investigation into whether Russia meddled with the election, the president cried out to his advisers, “Where’s my Roy Cohn?”
Now, as if in answer to that question, Kai Bird has written a magisterial biography of the notorious lawyer and Trump whisperer that is indispensable reading for anyone who wants to understand the current political moment. Bird, the co-author of American Prometheus, the Pulitzer Prize-winning biography of Robert J. Oppenheimer and inspiration for the Oscar-winning movie, began it in 2022, a couple years before Trump’s re-election. He collaborated with his wife, Susan Goldmark, who did the research for this riveting account of the unseemly, outrageous life of the hustler and con man about whom Trump once said, “If you need somebody to get vicious, hire Roy Cohn.”
Though Cohn has been long gone from public life — he died of AIDS at age 59 in 1986, insisting to the very end that he had succumbed to liver cancer — Bird demonstrates how he practically invented the dark political arts of resentment and division adopted by his former client, protégé and future president of the U.S.
Indeed, over the recent 4th of July weekend — decades after the collapse of the Soviet Union — Trump used Cohn’s divisive, inflammatory rhetoric in back-to-back speeches, including one at Mount Rushmore, branding his political opponents as evil, godless communists.
Bird walks us through Cohn’s life decade by decade. He grew up as an only child in a wealthy Jewish family on the Upper East Side and attended elite private schools, where his boyhood friends included Si Newhouse Jr., heir to the Condé Nast media empire, Gene Pope Jr., who would go on to found the National Enquirer, and, improbably, Al Lowenstein, later a well-known liberal Democratic activist and politician.
After Cohn graduated from Columbia Law School, his father, a judge, pulled strings to get him a job in the U.S. attorney’s office for the Southern District of New York, where he made a name for himself as the boy prosecutor who sent Julius and Ethel Rosenberg to the electric chair in 1953 for passing nuclear secrets to the Soviets. His tactics were highly irregular, including private meetings with the trial judge.
Not long after that, he went to work as chief counsel to Wisconsin Senator Joe McCarthy, using his position to force U.S.-funded libraries abroad to purge 30,000 books on the flimsy pretext that the authors were communists or Soviet sympathizers. He was also a central figure in the so-called Lavender Scare, when hundreds of federal employees thought to be gay lost their jobs because they were deemed a security risk.
By the 1960s, Cohn was back in New York, hanging out at the Stork Club and 21, squiring Barbara Walters around town, and representing mobsters though still living at home with his mother at 1165 Park Avenue. Over the next decade he would be indicted three times by U.S. Attorney Robert Morgenthau Jr. for bribery, perjury, extortion and other white-collar crimes. In each case, he managed to beat the rap though months before his death he was finally disbarred for unethical conduct.
After Cohn’s mother died in 1967, he moved into a stately townhouse on East 68th Street, where he established his law practice and stopped the pretense of dating women though he never publicly came out as gay. Then, in 1973, Cohn met his most consequential client. At the time, Trump was the 27-year-old son of a Queens real estate mogul trying to break into the Manhattan market and living in a rent-controlled studio on East 75th Street with a view of a water tank on an adjacent building.
Cohn advised the family on how to fight a Justice Department lawsuit accusing the real estate company of violating the Fair Housing Act by refusing to rent to Black tenants. Over the course of the litigation, Cohn taught Trump his signature moves: Keep your name in the paper. Never settle. Countersue. Claim victory. Don’t pay the bills.
Cohn also advised Trump on his first major real estate deal in Manhattan — buying the dilapidated Commodore Hotel on East 42nd Street, next to Grand Central Terminal. To get the deal done, Cohn worked his extensive connections to New York’s first Jewish mayor, Abraham Beame, a player in Democratic machine politics and an old friend of Cohn’s father.
For more than a decade, Trump continued to model himself after his mentor, adopting his penchant for personalized license plates and his snarling, scowling demeanor. Bird argues that in the decades since Cohn died, the McCarthyism of the 1950s has morphed into a nativist, America Firster politics that transformed the Republican Party into one of resentments against the old establishment, multiculturalism, globalization and liberal culture — in other words, the MAGA movement of today.
Cohn’s “values, his unethical behavior, and his political mindset have survived and replaced the values of the establishment he so resented,” Bird writes. “Perhaps his life is proof of the ability of one individual to change the arc of history. Certainly, he gave us the narcissistic politics of Donald Trump.”
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