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Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it.
NEW YORK (JTA) — Sidney Brustein, Jewish Hamlet?
Anne Kauffman thinks so. She made the comparison in a phone interview about the play she’s directing — a buzzy production of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” that opened on Monday at the Brooklyn Academy of Music starring Oscar Isaac and Rachel Brosnahan.
“One artistic director who was thinking of doing this [play] was like, ‘You know, it’s not like he’s Hamlet, but…’ And I thought, well, no, actually I think he is like Hamlet!” she said.
She added another take: “I feel like he’s Cary Grant meets Zero Mostel.”
Hansberry saw just two of her works produced on Broadway before her death from cancer at 34 in January 1965. Her first, “A Raisin in the Sun,” which follows a Black family dealing with housing discrimination in Chicago, is widely considered one of the most significant plays of the 20th century. The other, “The Sign in Sidney Brustein’s Window,” ran for a few months in the fall of 1964 until Hansberry’s death and has only been revived a handful of times since, all outside of New York.
Now, the star power of Isaac and Brosnahan is driving renewed interest in the play, which deals with weighty questions about political activism, self-fulfillment in a capitalist world, and racial and ethnic identity — including mid-century Jewish American identity.
The Brustein character, as Kauffman alluded to, is many things. A resident of Greenwich Village deeply embedded in that historic neighborhood’s 1960s activist and artistic circles, he is somewhat of a creative renaissance man. At the start of the play, his club of sorts (“it was not a nightclub” is a running joke) called “Walden Pond” has just shuttered and he has taken over an alternative newspaper. As the script reads, Brustein is an intellectual “in the truest sense of the word” but “does not wear glasses” — the latter description being a possible jab at his macho tendencies. Formerly an ardent leftist activist, he is now weary of the worth of activism and a bit of a nihilist. He’s in his late 30s and is a musician who often picks up a banjo.
Brustein is also a secular Jew, a fact that he telegraphs at certain key emotional and comedic moments. Others, from friends to his casually antisemitic sister-in-law, frequently reference his identity, too.
At the end of the play’s first half, for example, Brustein brings up the heroes of the Hanukkah story in talking about his existential angst — and his stomach ulcer. He has become belligerent to his wife Iris and to a local politician who wants Brustein’s paper’s endorsement.
“How does one confront the thousand nameless faceless vapors that are the evil of our time? Can a sword pierce it?” Sidney says. “One does not smite evil anymore: one holds one’s gut, thus — and takes a pill. Oh, but to take up the sword of the Maccabees again!”
Hansberry’s decision to center a white Jewish character surprised critics and fans alike in 1964 because many of them expected her to follow “A Raisin in the Sun” with further exploration of issues facing Black Americans, said Joi Gresham, the director of the Lorraine Hansberry Literary Trust.
“The major attack, both critically and on a popular basis, in regards to the play and to its central character was that Lorraine was out of her lane,” Gresham said. “That not only did she not know what she’s talking about, but that she had the nerve to even examine that subject matter.”
Hansberry’s closest collaborator was her former husband Robert Nemiroff, a Jewish New Yorker whom she had divorced in 1962 but maintained an artistic partnership with. Nemiroff was a bit Brustein-like in his pursuits: he edited books, produced and promoted Hansberry’s work, and even wrote songs (one of which made the couple enough money to allow Hansberry to focus on writing “A Raisin in the Sun”). But Gresham — who is Nemiroff’s stepdaughter through his second marriage, to professor Jewell Handy Gresham-Nemiroff — emphasized that his personality was nothing like Brustein’s. While Brustein is brash and mean to Iris, Nemiroff was undyingly supportive of Hansberry and her work, said Gresham, who lived with him and her mother at Nemiroff’s Croton-on-Hudson home — the one he had formerly shared for a time with Hansberry — from age 10 onward.
Instead, Gresham argued, the Brustein character was the result of Hansberry’s deep engagement with Jewish intellectual thought, in part influenced by her relationship with Nemiroff. The pair met at a protest and would bond over their passion for fighting for social justice, which included combating antisemitism. The night before their wedding, they protested the execution of Julius and Ethel Rosenberg, and they would remain highly involved in the wave of activism that blossomed into the Black-Jewish civil rights alliance.
“Bob and Lorraine met and built a life together at a place where there was a very strong Black-Jewish nexus. There was a very strong interplay and interaction,” Gresham said. “I think Lorraine was very influenced by Bob’s family, the Nemiroffs, who were very radical in their politics. And so there was a way in which she was introduced to the base of Jewish intellectualism and Jewish progressive politics, that she took to heart and she was very passionate about.”
Robert Nemiroff and Lorraine Hansberry were married from 1953-62. They are shown here in 1959. (Ben Martin/Getty Images)
Hansberry didn’t hesitate to criticize Jewish writers who said controversial things about Black Americans, either. When Norman Podhoretz wrote “My Negro Problem — And Ours,” an explosive 1963 article in Commentary magazine now widely seen as racist, Hansberry responded with a scathing rebuke. She also sparred with Norman Mailer, who once wrote an essay titled “The White Negro: Superficial Reflections on the Hipster.”
Gresham said Brustein’s nihilism represents what Hansberry saw in a range of Jewish and non-Jewish white writers, whom she hoped could be kickstarted back into activism. But Hansberry also nodded to the reasons why someone like Brustein could feel defeated in the early 1960s, a decade and a half after World War II.
“You mean diddle around with the little things since we can’t do anything about the big ones? Forget about the Holocaust and worry about — reforms in the traffic court or something?” Brustein says at one point in the play to a local politician running as a reformer.
Daniel Pollack-Pelzner, a Jewish scholar of literature who has written on Hansberry, said the resulting Brustein character is a very accurate depiction of a secular Jew at the time — both keenly attuned to prejudice in society and also lacking some understanding of the experience of being Black.
“I was just intoxicated that Hansberry could conjure that world, both so affectionately, but also so clear-sidedly that it seems like she can see the limitations of all of the characters’ perspectives,” he said. “But she also represents them with sympathy and humor.”
Kauffman, who also helmed a revival of the play in Chicago in 2016, is impressed with how “fully fledged” the Brustein character is.
“Who are the cultural icons who have sort of articulated the Jew in our culture in the last 50 years or 60 years, you know?” she said. “Brustein is not a caricature of a Woody Allen character, he’s not even ‘Curb your Enthusiasm’ or a Jerry Seinfeld character. He’s a fully drawn character.”
Isaac, who is of mainly Guatemalan and Cuban heritage, has played Jewish characters before, including a formerly Orthodox man in an Israeli director’s remake of the classic film “Scenes From a Marriage.” In the lead-up to this play, he has largely avoided getting caught in headlines focused on the “Jewface” debate, over whether non-Jewish actors should be allowed to play Jewish characters on stage and screen.
But when asked about the responsibility of playing a Jewish character in a New York Times interview, Isaac referenced the fact that he has some Jewish heritage on his father’s side.
“We could play that game: How Jewish are you?” he said to interviewer Alexis Soloski, who is Jewish. “It is part of my family, part of my life. I feel the responsibility to not feel like a phony. That’s the responsibility, to feel like I can say these things, do these things and feel like I’m doing it honestly and truthfully.”
When Kauffman directed a version of the play at the Goodman Theater in Chicago in 2016, her lead actor had “not a single drop of Jewish heritage…in his blood,” and she said she had to convey “what anger looks like” coming from a Jewish perspective. Working with Isaac has been different — instead of starting at a base of no knowledge, she has been pushing for more of an Ashkenazi sensibility than a Sephardic one.
“I believe that his heritage leans, I’m guessing, more towards Sephardic. And mine is pure Ashkenazi,” she said. “We sort of joke: ‘[The part] is a little bit more Ashkenazi than that, you know what I mean?’ Like, ‘the violence is actually turned towards yourself!’”
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Trump administration says 2nd phase of Gaza ceasefire is underway, despite Israeli hostage remaining
(JTA) — Middle East envoy Steve Witkoff announced on Wednesday the beginning of the second phase of the U.S.-brokered ceasefire deal between Israel and Hamas, which includes a transitional Palestinian committee to oversee Gaza’s governance.
The announcement drew alarm from the family and advocates of Ran Gvili, a police officer murdered on Oct. 7, 2023, who is the final Israeli hostage remaining in Gaza.
“Moving to phase two at this moment, while the efforts to return Ran have yet to be exhausted, is a loss of the most significant leverage and may be a sentence of eternal disappearance for Ran,” Gvili’s mother, Talik, said in a statement. “Until Ran is returned, the State of Israel will not be able to close its most bloody wound and will not be able to begin the rehabilitation and healing that it so desperately needs. Phase two must not be implemented as long as Ran has not returned home.”
Israeli officials have reportedly assured the family that the advance in the U.S.-engineered plan for Gaza does not undercut pressure to return Gvili’s body. The second phase was supposed to start as soon as all living and dead hostages had been returned, which the original agreement struck in October said should happen immediately.
Witkoff’s announcement follows repeated signals from President Donald Trump that the second phase was imminent, despite allegations of truce violations from both Israel and Hamas.
“Today, on behalf of President Trump, we are announcing the launch of Phase Two of the President’s 20-Point Plan to End the Gaza Conflict, moving from ceasefire to demilitarization, technocratic governance, and reconstruction,” Witkoff wrote in a post on X.
Witkoff said the second phase established a “transitional technocratic Palestinian administration in Gaza,” and would begin the “full demilitarization and reconstruction of Gaza.” The leader of the administration is a former Palestinian Authority deputy minister named Ali Abdel Hamid Shaath.
In a joint statement, the other mediators of the ceasefire deal — Egypt, Turkey and Qatar — wrote that the second phase was an “important development … aimed at consolidating stability and improving the humanitarian situation in the Gaza Strip.”
The details of how Hamas will be disarmed — a requirement for a permanent peace — remain unclear. Hamas has not agreed to lay down its arms, and fighting in Gaza has continued in fits and starts, including in areas controlled by Israel.
Last month, Israeli Prime Minister Benjamin Netanyahu met with Trump at his Mar-a-Lago estate where the president said that Hamas would be given “a very short period of time to disarm.”
Witkoff indicated in his post that the move to phase two did not preclude consequences for Hamas. He did not specify any, but Israeli officials are reportedly preparing for a potential major Gaza City operation this spring.
“The US expects Hamas to comply fully with its obligations, including the immediate return of the final deceased hostage,” Witkoff wrote. “Failure to do so will bring serious consequences.”
Israeli officials offered a muted response to Witkoff’s announcement, which comes as Israel is preparing for a possible new confrontation with Iran. Netanyahu reportedly sought to cast the announcement as symbolic only.
Some liberal pro-Israel groups offered cautious praise while emphasizing that more needed to be done for a lasting peace.
Brian Romick, the president and CEO of the Democratic Majority for Israel, called the second phase a “welcome step,” but called for the return of Gvili’s remains and increased aid in Gaza. He also called for Hamas to be “fully disarmed” and have no role in Gaza’s governance.
“The Trump administration and the international community must remain focused on enforcing demilitarization, supporting responsible governance, and ensuring that this effort delivers lasting security for Israel and the region,” Romick said.
The president of the liberal Zionist advocacy and lobby group J Street, Jeremy Ben-Ami, also welcomed the announcement in a statement, but called for “prioritizing civilian protection, ensuring the steady flow of humanitarian aid and establishing accountable governance and security arrangements.”
“We support the plan’s focus on Hamas’ demilitarization, Palestinian technocratic governance and reconstruction, and believe that serious diplomacy and international cooperation are essential to saving lives and keeping open a path toward a better future for Israelis and Palestinians rather than endless war,” said Ben-Ami.
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A Yale student returns to class, with a Jewish question (and answer) about why she’s there
“We’re back with the books, in silent rooms, where the world is made of words, like so many before us — and I can’t stop wondering why,” writes Mia Rose Kohn, a cartoonist, journalist and junior studying at Yale University.
In this first installment of a graphic column for the Forward, she draws from the great works of the Jewish Enlightenment to theorists of the modern era, as she asks herself — and us — “If education is a Jewish value, what does Jewish thought have to say about why we’re here?”
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He works at a Holocaust museum by day. How’d he end up in ‘Marty Supreme’?
Heading into his audition for Marty Supreme, Isaac Simon was nervous. But not for the reasons you’d expect.
“I was taking a long lunch break from the museum,” he said, “and at the time I was three or four months into my job.”
Appearing in a Josh Safdie movie was something Simon, who runs internship programs at the Museum of Jewish Heritage, had genuinely never dreamed of. He wasn’t an actor, or an aspiring one. He’d never taken an acting class or been in front of a camera.
But two years after he was scouted at a baseball card convention, Simon was invited to try out for the role of Roger, a cocksure amateur who gets hustled on the ping-pong table by Timothée Chalamet’s Marty Mauser. Standing 6-foot-9 with ice-blue eyes, low eyebrows and flowing brown hair, Simon had the look, the paddle skills and, clearly, the temperament to land a pivotal part in an Oscar-bound — and richly Jewish — cinematic hit.
“I don’t get starstruck,” Simon, 31, said. “I get excited.”
The slew of non-actors who feature in Marty Supreme alongside A-listers like Chalamet, Gwyneth Paltrow and Tyler, The Creator has already become part of the film’s lore. Safdie and veteran casting director Jennifer Venditti have a penchant for casting street regulars; among the first-timers in the movie are basketball legend George Gervin, viral TikTok and YouTube personas and the guy from Shark Tank.
But perhaps none had as personal a connection to the film’s story of post-war Jewish striving as Simon, a native New Yorker whose graduate study at Queens College focused on the development of Holocaust studies in the U.S. In Marty Supreme, which is loosely based on the story of real-life midcentury table tennis star Marty Reisman, one of the protagonist’s best friends is a Holocaust survivor; one of the film’s most arresting scenes is an Auschwitz flashback.
Simon’s day job is, of course, at the largest Holocaust museum in New York. The fateful coincidence of his casting, Simon said, was “like a bizarre lottery ticket I was able to cash in.”
A fateful encounter
The story of Simon’s star turn begins in the summer of 2022, when Venditti spotted him at a baseball card show in Long Island. Venditti was there with Safdie; Simon — then still in grad school — was there with his dad.
Venditti said they was there to cast extras and non-actors for a baseball-related movie, and asked if she could take a two-minute video of him talking about himself. He obliged, and in the recording told her where he was from (New York City) and what he was doing at the show (chasing the famously rare T206 tobacco card series).
“I thought to myself, ‘Wow, could I really have been at the right place and the right time for something I wasn’t even expecting?’” Simon recalled. Then two years passed, and the run-in faded from memory.
It was not until the summer of 2024 that he received an email from Venditti: “Isaac Simon audition opportunity – scouted at card show.” No script was provided and nothing about the project was disclosed — just a date and a location.
On his elevator up to the audition, he heard the hollow bouncing of a ping-pong ball. Having seen a headline about Chalamet being attached to a Reisman biopic a few days earlier, he realized what the next few minutes might entail.
“The first audition was a total blur,” Simon recalled. “I remember playing ping pong with the assistant casting director and he was like, ‘Oh you’re good!’” At a subsequent callback, he played out a few improv scenarios — some light trash talking, or being cheated in a game. A few weeks later, he got called in for costume fittings.
He hadn’t solicited any acting tips, or studied film prior to his audition. But his work at the museum, where he trains educators on how to teach the Holocaust in 90 minutes, had prepared him.
“Because teaching is a performance, there is sort of an inherent performative quality to the work I do,” Simon said. “And so I think that that lent itself well — or at the very least, it didn’t hurt — to the work I was being asked to do for Josh.”
‘Cast for a reason’
Having run through his lines with his dad and his girlfriend, Simon headed upstate that fall to play Roger — and play opposite Chalamet. (This time, he took two days off of work.)
Roger, the reigning hotshot at a humdrum bowling alley, features in two scenes. In the first, he’s goaded into wagering $40 against Marty, who’s feigning amateurism, and loses. He reappears a few minutes as Marty fills up at a nearby gas station, realizing he was hustled by the reigning American champion; he and his pals want their money back.
Walking into the converted Bowlero where they shot the first scene, Simon was floored by the set. “Each individual looked like they were from the 1950s, and yet their outfit was distinctly their own,” he recalled. Miyako Bellizzi, the costume designer, had fitted him in a striped button-up and faded blue work pants; Simon’s hair was slicked back and to the side.
He hadn’t met Safdie before he got to set, and his cues from the Uncut Gems co-director were limited.
Over the course of his scenes, there were times when he wasn’t sure he was doing what Safdie wanted. Here, it was his inexperience that Simon drew on. “I kept reminding myself that I was cast for a reason, and I was cast as a non-actor for a reason,” he said, “and what I’m bringing to this experience is inherently different than what a trained actor would be. Therefore, if I were a trained actor, I would not be what Josh was looking for in the scenario.”
He didn’t have too much time to banter with the film’s stars during the shoot; most of his time on set was spent with other bit-players. But when the camera was shooting other actors, Safdie wanted to keep the sound of live table tennis in the background, so he had Chalamet and Simon play each other off-camera.
As to who had the upper hand? “We’re probably about even,” Simon said.
Jewish mythmaking
Even after the shoot, Simon couldn’t quite believe it was real. He told almost no one outside his family, superstitious that the scene would get cut. But then the premiere arrived. “It was surreal,” he said.
He’s now seen the film nine times — yes, all the way through — indulging friends who want to see it with him. And his acting has won some praise, with one X post calling it an “incredible underrated performance” liked more than 2,000 times.
Simon likes the movie, if you couldn’t tell, echoing its director and star in calling it a love letter to New York. The film, Simon said, touches on Jewish identity in a way that reminds him of his own family and their experience in this country.
“The way in which it captured intergenerational relationships in Jewish homes in post-war America, in New York specifically, felt very autobiographical for the way that my relatives talked amongst each other,” he said. “There’s a love there that transcends.”
As a Holocaust educator, Simon felt the movie handled that theme appropriately. He found the honey scene — an Auschwitz flashback too intense to explain here — moving, and the Holocaust humor tactfully dispatched. He loved the yiddish.
Yet Simon still couldn’t wrap his head around his own involvement in such a fitting project. His work passing on the history and memory of the Holocaust to future generations was already meaningful before he got an IMDB page.
“So to be cast in a film and have a speaking line,” he said, “and it just so happens that that film is also this incredibly Jewish film — which has direct references in the scene at Auschwitz — is equally bizarre, but also really beautiful, and oddly perfect.”
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